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Sole U.S.A. Distributor Foreign Vintages, Inc. N.Y., N.Y. 80 Proof. Seiji Ozawa, Music Director
Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor
One Hundred and Second Season, 1982-83 Trustees of the Boston Symphony Orchestra, Inc.
Abram T. Collier, Chairman Nelson J. Darling, Jr., President
Leo L. Beranek, Vice-President George H. Kidder, Vice-President Mrs. Harris Fahnestock, Vice-President Sidney Stoneman, Vice-President Roderick M. MacDougall, Treasurer John Ex Rodgers, Assistant Treasurer
Vernon R. Alden Mrs. John H. Fitzpatrick William J. Poorvu Irving J. P. Barger Mrs. John L. Grandin W. Rabb Mrs. John M. Bradley David G. Mugar Mrs. George R. Rowland Mrs. Norman L. Cahners Albert L. Nickerson Mrs. George Lee Sargent
George H.A. Clowes, Jr. Thomas D. Perry, Jr. William A. Selke
Archie C. Epps III John Hoyt Stookey
Trustees Emeriti Talcott M. Banks, Chairman of the Board Emeritus
Philip K. Allen E. Morton Jennings, Jr. Mrs. James H. Perkins Allen G. Barry Edward M. Kennedy Paul C. Reardon
Richard P Chapman Edward G. Murray John L. Thorndike
John T. Noonan Administration of the Boston Symphony Orchestra, Inc. Thomas W Morris General Manager
William Bernell Edward R. Birdwell Daniel R. Gustin Artistic Administrator Orchestra Manager Assistant Manager
Caroline Smedvig Walter D. Hill B.J. Krintzman Director of Director of Director of Promotion Business Affairs Planning
Judith Gordon Theodore A. Vlahos Joyce Snyder Serwitz Assistant Director Controller Acting Director of Promotion of Development Marc Solomon Arlene Germain Katherine Whitty Director, Broadcasting Financial Coordinator of and Special Projects Analyst Boston Council
James E. Whitaker Elizabeth Dunton Anita R. Kurland Hall Manager, Director of Administrator of Symphony Hall Sales Youth Activities
James F. Kiley Charles Rawson Richard Ortner Operations Manager, Manager of Administrator, Tanglewood Box Office Berkshire Music Center
Steven Ledbetter Marc Mandel Jean Miller MacKenzie Director of Editorial Print Production PubHcations Coordinator Coordinator
Programs copyright ©1982 Boston Symphony Orchestra, Inc. Cover photo by Peter Schaaf
1 Board of Overseers of the Boston Symphony Orchestra, Inc.
William J. Poorvu Chaiiman
William M. Crozier, Jr. Mrs. Lewis S. Dabney Vice-Chairman Vice-Chairman Mrs. Richard D. Hill Secretary
John Q. Adams Graham Gund E. James Morton
Mrs. Weston Adams Mrs. R. Douglas Hall III John A. Perkins
David B. Arnold, Jr. Mrs. Richard E. Hartwell David R. Pokross
Hazen H. Ayer Francis W Hatch, Jr. Mrs. Curtis Prout Bruce A. Beal Ms. Susan M. Hilles Mrs. Eleanor Radin Mrs. Richard Bennink Mrs. Marilyn Brachman Hoffman Peter C. Read
Mrs. Edward J. Bertozzi, Jr. Mrs. Bela T Kalman Harry Remis
Peter A. Brooke Mrs. Louis I. Kane Mrs. Peter van S. Rice
William M. Bulger Mrs. S. Charles Kasdon David Rockefeller, Jr.
Mary Louise Cabot Richard L. Kaye Mrs. Jerome Rosenfeld
Julian Cohen Mrs. F. Corning Kenly, Jr. Mrs. William C. Rousseau
Mrs. Nat King Cole Mrs. Gordon F. Kingsley Mrs. William H. Ryan
Johns H. Congdon Mrs. Carl Koch Francis P. Sears
Arthur P. Contas Robert K. Kraft Mark L. Selkowitz
Ms. Victoria L. Danberg Harvey C. Krentzman Gene Shalit
William S. Edgerly Mrs. E. Anthony Kutten Donald B. Sinclair
Mrs. Alexander Ellis, Jr. Benjamin H. Lacy Richard A. Smith
Frank L. Farwell John P. LaWare Ralph Z. Sorenson
John A. Fibiger Mrs. James F. Lawrence Peter J. Sprague
Kenneth G. Fisher Mrs. Charles P. Lyman Ray Stata
Peter H.B. Frelinghuysen C. Charles Marran Mrs. Arthur I. Strang
Mrs. Thomas J. Galligan, Jr. Mrs. August R. Meyer Mrs. Richard H. Thompson
Mrs. Thomas Gardiner J. William Middendorf II Mark Tishler, Jr. Mrs. James Garivaltis Paul M. Montrone Ms. Luise Vosgerchian
Avram J. Goldberg Mrs. Hanae Mori Roger D. Wellington Mrs. Ray A. Goldberg Mrs. Stephen VC. Morris Mrs. Donald B. Wilson
Jordan L. Golding Richard P Morse John J. Wilson Haskell R. Gordon Mrs. Thomas Spurr Morse Nicholas T Zervas
i Overseers Emeriti Mrs. Frank G. Allen Paul Fromm David W Bernstein Carlton Fuller Leonard Kaplan "Harrison, did you know that the dollar is now worth 31<£ and
that taxes take 41 1 trust people, every time I made a dollar Yd lose a dime! For good advice on personal trust and investment matters, call our Trust Division at (617) 742-4000. Or write Bank of New England, 28 State Street, Boston, Massachusetts 02109. 3 Wwmm V HI L E W'E 5 R & R with Ralph. Lauren Now that the holiday hob- nobbing has ended, you can rest and relax in clothes with the tamous Lauren touch. Here, with comfort and style that meets your own terms, Ralph Lauren's all-cotton classics with fresh appeal for '83. Tan twill pant, sizes 4-14, $59. — ,.\... ENJOY THE CONVENIENCE OF YOUR FILENE CHARGE BSO A Record-Breaking 1983 BSO/WCRB Musical Marathon!! The 1983 BSO/WCRB Musical Marathon, which took place Friday, 11 March, Saturday, 12 March, and Sunday, 13 March, raised a total of $337,852 for the Boston Symphony Orchestra and the Boston Pops—the highest amount ever raised in the thirteen years the Marathon has been held. The total figure represented a twenty percent increase over the $279,918 raised last year and far exceeded this year's goal of $300,000. The Marathon's highest premium—$50,000 for an evening performance by the Boston Pops under the direction of Conductor John Williams—was bought by the Met Center in Boston. This news was announced by Mary Louise Cabot, Chairman of the Special Events Committee and a Trustee of the Met Center, and by Joseph M. Hobbs, President of the Met Center, during the special Marathon telecast broadcast by WCVB- TV-Channel 5 on Sunday evening, 13 March. This was the first time this premium has been sold, and the Pops will present a special benefit at the Met Center sometime next fall. Marathon co-chairmen Jane Sanger and Janice Hunt expressed their appreciation to the hundreds of volunteers who helped make this year's Marathon such a resounding success. "We're so very grateful for the generous support of everyone who made pledges to the Marathon. And the Marathon would not be possible without the tireless effort of more than six hundred volunteers who donated many months to make this year's Marathon the most successful ever," said Ms. Sanger. Echoing this sentiment, Janice Hunt also thanked Richard L. Kaye and the entire staff of WCRB for their many months of preparation and inspirational ideas. "WCRB makes the Musical Marathon possible," she said. 1983-84 BSO Subscription Information Information about the Boston Symphony Orchestra's 1983-84 subscription season will be available within the next few weeks. Current subscribers will receive full program and renewal information in mid-April. Non-subscribers may request program and subscrip- tion information also around that time all subscription orders from new subscribers will ; be filled in order of arrival after current subscribers have been accommodated. The Junior Council's Symphony Bark The Symphony Bark is a miniature bar of deep rich chocolate candy with whole toasted almonds molded with the BSO colophon and wrapped in gold foil. The sale of the bark as well as the ever-popular Symphony Mint is made from a table in the Massachusetts Avenue corridor of Symphony Hall near the elevator. All proceeds from this effort, which is staffed by Junior Council volunteers, go to the benefit of the Boston Symphony Orchestra. To encourage use of the Symphony Bark as a delightful addition to your favorite child's This is a CoacK Belt It is one of ten models we make out of real Glove Tanned Cowhide in ten colors and eight lengths^1^ for men and women from size 26 to 40. Coach® Belts are sold in selected stores throughout the country. If you cannot find the one you want in a store near you, you can also order it directly from the Coach Factory in New York. For Catalogue and Store List write: Consumer Service, Coach Leatherware, 516 West 34th Street, New York City 10001. ^1$A Easter basket, we have reduced the price of the Symphony Bark from $9 to $8 per box until Easter. In addition to sales in the Hall, we also have mail order forms available which you can use to have the Symphony Mint or Symphony Bark sent to your favorite person, arriving on any date you specify. The Junior Council of the Boston Symphony Orchestra is a group of young men and women who undertake a variety of fundraising activities on behalf of the orchestra. New members are admitted in September, January, and May. Membership inquiries are most welcome and may be directed to the Membership Chairman through the Friends' Office in Symphony Hall, (617) 266-1492. BSO on WGBH artists Live interviews by Robert J. Lurtsema with BSO personalities and guest continue this season on WGBH-FM-89.7's Morning Pro Musica. Coming up on Monday, 11 April at 11: composer Peter Lieberson, whose Piano Concerto written for the BSO's hundredth birthday will have its world premiere with soloist Peter Serkin on 21 April. With Thanks We wish to give special thanks to the National Endowment for the Arts and the Massachusetts Council on the Arts and Humanities for their continued support of the Boston Symphony Orchestra. BSO Members in Concert BSO violinist Cecylia Arzewski will perform recitals on Monday, 11 April at 7:30 p.m. at the Berkshire School in Sheffield, Massachusetts,- and on Thursday, 28 April at 11 a.m. at the Wentworth Institute in Boston. The Boston Artists' Ensemble will close its 1982-83 subscription season at the Longy School of Music, 27 Garden Street, Cambridge, on Tuesday, 12 April at 8 p.m. The program will include Beethoven's Archduke Trio and Dvorak's Trio in F minor. The performers are Arturo Delmoni, violin, Jonathan Miller, cello, and Andrew Wolf, piano. at all seats are unreserved. For additional Single tickets at $6 will be available the door ; information, call 277-2705 or 367-1380. BSO cellist Ronald Feldman will conduct the Mystic Valley Chamber Orchestra on Saturday 23 April at 8 p.m. at Arlington Town Hall, and on Sunday, 24 April at 4 p.m. at Sanders Theater in Cambridge. The program will include the Brahms Tragic Overture, the Divertimento from The Fairy's Kiss by Stravinsky, and the Beethoven Violin Concer- to. Marylou Speaker Churchill, principal second violinist of the Boston Symphony Orchestra, will be soloist in the concerto. Tickets are available at the door, and all seats are unreserved. For further information, please call 332-4210. The Francesco String Quartet will close its 1982-83 subscription season on Sunday, 1 May at 3 p.m. at the Longy School of Music in Cambridge. The program will include music of Haydn, Bartok, and Beethoven. Tickets are $7, and seats are unreserved. For further information, call 862-0995. The quartet includes BSO violinists Bo Youp Hwang and Ronan Lefkowitz, violist Robert Barnes, and cellist Joel Moerschel. Seiji Ozawa This is Seiji Ozawa's tenth season as music assistant conductor of that orchestra for the director of the Boston Symphony Orchestra,- 1961-62 season. His first professional concert in the fall of 1973 he became the orchestra's appearance in North America came in Janu- thirteenth music director since its founding in ary 1962 with the San Francisco Symphony 1881. Orchestra. He was music director of the Chicago Symphony's Ravinia Festival for five Born in 1935 in Shenyang, China, to summers beginning in 1964, and music Japanese parents, Mr. Ozawa studied both director for four seasons of the Toronto Sym- Western and Oriental music as a child and phony Orchestra, a post he relinquished at the later graduated from Tokyo's Toho School of end of the 1968-69 season. Music with first prizes in composition and conducting. In the fall of 1959 he won first Seiji Ozawa first conducted the Boston Sym- prize at the International Competition of phony in Symphony Hall in January of 1968; Orchestra Conductors, Besancon, France. he had previously appeared with the orchestra Charles Munch, then music director of the for four summers at Tanglewood, where he Boston Symphony and a judge at the competi- became an artistic director in 1970. In Decem- tion, invited him to Tanglewood for the ber of 1970 he began his inaugural season as summer following, and he there won the conductor and music director of the San Fran- Berkshire Music Center's highest honor, the cisco Symphony Orchestra. The music direc- Koussevitzky Prize for outstanding student torship of the Boston Symphony followed in conductor. 1973, and Mr. Ozawa resigned his San Fran- cisco position in the spring of 1976, serving as While working with Herbert von Karajan music advisor there for the 1976-77 season. in West Berlin, Mr. Ozawa came to the atten- tion of Leonard Bernstein, whom he accom- As music director of the Boston Symphony panied on the New York Philharmonic's Orchestra, Mr. Ozawa has strengthened the spring 1961 Japan tour, and he was made an orchestra's reputation internationally as well as at home, leading concerts on the BSO's 1976 Garden, and La Scala in Milan. Mr. Ozawa has European tour and, in March 1978, on a nine- won an Emmy for the BSO's "Evening at city tour of Japan. At the invitation of the Symphony" television series. His award- Chinese government, Mr. Ozawa then spent a winning recordings include Berlioz's Romeo week working with the Peking Central Phil- et Juliette, Schoenberg's Guirelieder, and the harmonic Orchestra; a year later, in March of Berg and Stravinsky violin concertos with 1979, he returned to China with the entire Itzhak Perlman. Other recent recordings with Boston Symphony for a significant musical the orchestra include, for Philips, Richard and cultural exchange entailing coaching, Strauss's Also sprach ZarathustTa, Stravinsky's study, and discussion sessions with Chinese Le Sacie du phntemps, Hoist's The Planets, musicians, as well as concert performances. and Mahler's Symphony No. 8, the Sym- Also in 1979, Mr. Ozawa led the orchestra on phony of a Thousand; for CBS, a Ravel collab- its first tour devoted exclusively to appear- oration with mezzo-soprano Frederica von ances at the major music festivals of Europe. Stade and the Mendelssohn Violin Concerto Most recently, Seiji Ozawa and the Boston with Isaac Stern,- and, for Telarc, Vivaldi's Symphony celebrated the orchestra's one-hun- Four Seasons with violin soloist Joseph Silver- dredth birthday with a fourteen-city Amer- stein, and music of Beethoven—the Fifth ican tour in March 1981 and an international Symphony, the Egmont Overture, and, with tour to Japan, France, Germany, Austria, and soloist Rudolf Serkin, the Fourth and Fifth England in October/November that same piano concertos. Mr. Ozawa has also recorded year. Roger Sessions's Pulitzer Prize-winning Con- Mr. Ozawa pursues an active international certo for Orchestra and Andrzej Panufnik's career. He appears regularly with the Berlin Sinfonia Votiva, both works commissioned by Philharmonic, the Orchestre de Paris, the the Boston Symphony Orchestra for its cen- French National Radio Orchestra, the Philhar- tennial, for Hyperion records. Mr. Ozawa monia of London, and the New Japan Philhar- recently received an honorary Doctor of monic, and his operatic credits include the Music degree from the New England Conser- Paris Opera, Salzburg, London's Covent vatory of Music. It Baldwin Piano & Organ Company pays tribute to the Boston Symphony Orchestra on its first century of achievement. We look forward to continuing our association at this, the start of the Boston's second century of excellence. 10 Violas Pasquale Cardillo Burton Fine Peter Hadcock E-flat Charles S. Dana chair Clarinet Patricia McCarty Mrs. David Stoneman chair Bass Clarinet Craig Nordstrom Ronald Wilkison Robert Barnes Bassoons Jerome Lipson Sherman Walt Bernard Kadinoff Edward A. Taft chair Joseph Pietropaolo Music Directorship endowed by Roland Small Michael Zaretsky John Moots Cabot Matthew Ruggiero Marc Jeanneret BOSTON SYMPHONY * Betty Benthin Contrabassoon ORCHESTRA * Lila Brown Richard Plaster * Mark Ludwig 1982/83 Horns Charles Kavalovski Cellos First Violins Helen Sagoff Slosberg chair Joseph Silverstein Jules Eskin Richard Sebring Concertmaster Philip R. Allen chat Daniel Katzen Charles Munch chaii Martha Babcock Richard Mackey Emanuel Borok Vernon and Marion Alden chair Jay Wadenpfuhl Assistant Concertmaster Mischa Nieland Helen Homer Mclntyre chair Charles Yancich Esther S. and Joseph M. Shapiro chair Hobart Max Jerome Patterson Robert L Beal, and Trumpets Enid and Bruce A. Beal chair Robert Ripley Charles Schlueter Luis Leguia Roger Louis Voisin chair Cecylia Arzewski Carol Procter Edward and Bertha C. Rose chair Andre Come * Ronald Feldman Bo Youp Hwang Timothy Morrison * ]ohn and Dorothy Wilson chair Joel Moerschel * Jonathan Miller Trombones Max Winder Ronald Barron Harry Dickson P. and Mary B. Barger chair Basses J. Forrest F. Collier chair Edwin Barker Norman Bolter Gottfried Wilfinger Harold D. Hodgkinson chaii Gordon Hallberg Fredy Ostrovsky Lawrence Wolfe Tuba Leo Panasevich Joseph Hearne Chester Schmitz Carolyn and George Rowland chair Bela Wurtzler Margaret and William C. Rousseau chair Sheldon Rotenberg Leslie Martin Alfred Schneider John Salkowski Timpani Raymond Sird John Barwicki Everett Firth Ikuko Mizuno Robert Olson Sylvia Shippen Wells chair Amnon Levy Percussion Flutes Second Violins Charles Smith Doriot Anthony Dwyer Arthur Press Marylou Speaker Churchill Walter Piston chair Fahnestock chair Assistant Timpanist Fenwick Smith Thomas Gauger Vyacheslav Uritsky Mr. and Mrs Robert K. Kraft chair Charlotte and Irving W Rabb chair Frank Epstein Ronald Knudsen Piccolo Harp Joseph McGauley Lois Schaefer Ann Hobson Pilot Leonard Moss Evelyn and C. Charles Manan chair Willona Henderson Sinclair chat Laszlo Nagy * Michael Vitale Oboes Personnel Managers * Harvey Seigel William Moyer Ralph Gomberg * Jerome Rosen Mildred B. Remis chair Harry Shapiro * Sheila Fiekowsky Wayne Rapier * Gerald Elias Librarians Alfred Genovese * Ronan Lefkowitz Victor Alpert * William Shisler Nancy Bracken English Horn * Joel Smirnoff James Harper Laurence Thorstenberg * Jennie Shames Phyllis Knight Beranek chair Stage Manager * Nisanne Lowe Alfred Robison * Aza Raykhtsaum Clarinets* Stage Coordinator Participating in a system of rotated seating Harold Wright within each string section. Ann S.M. Banks chair Cleveland Morrison A Brief History of the Boston Symphony Orchestra For many years, Civil War veteran, philan- 1915, the orchestra made its first transconti- thropist, and amateur musician Henry Lee nental trip, playing thirteen concerts at the Higginson dreamed of founding a great and Panama-Pacific Exposition in San Francisco. permanent orchestra in his home town of Recording, begun with RCA in the pioneering Boston. His vision approached reality in the days of 1917, continued with increasing fre- spring of 1881, and on 22 October of that year quency, as did radio broadcasts of concerts. the Boston Symphony Orchestra's inaugural The character of the Boston Symphony was concert took place under the direction of con- greatly changed in 1918, when Henri Rabaud ductor Georg Henschel. For nearly twenty was engaged as conductor,- he was succeeded years, symphony concerts were held in the the following season by Pierre Monteux. old Boston Music Hall,- Symphony Hall, the These appointments marked the beginning of orchestra's present home, and one of the a French-oriented tradition which would be world's most highly regarded concert halls, maintained, even during the Russian-born was opened in 1900. Henschel was succeeded Serge Koussevitzky's time, with the employ- by a series of German-born and -trained con- ment of many French-trained musicians. ductors—Wilhelm Gericke, Arthur Nikisch, The Koussevitzky era began in 1924. His Emil Paur, and Max Fiedler—culminating in extraordinary musicianship and electric per- the appointment of the legendary Karl Muck, sonality proved so enduring that he served an who served two tenures as music director, unprecedented term of twenty-five years. In 1906-08 and 1912-18. Meanwhile, in July 1885, 1936, Koussevitzky led the orchestra's first the musicians of the Boston Symphony had concerts in the Berkshires, and a year later he given their first "Promenade" concert, and the players took up annual summer resi- offering both music and refreshments, and dence at Tanglewood. Koussevitzky passion- fulfilling Major Higginson's wish to give ately shared Major Higginson's dream of "a "concerts of a lighter kind of music." These good honest school for musicians," and in concerts, soon to be given in the springtime 1940 that dream was realized with the found- and renamed first "Popular" and then "Pops," ing at Tanglewood of the Berkshire Music fast became a tradition. Center, a unique summer music academy for During the orchestra's first decades, there young artists. Expansion continued in other were striking moves toward expansion. In areas as well. In 1929 the free Esplanade con- certs on the Charles River in Boston were inaugurated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be succeeded by John Williams in 1980. Charles Munch followed Koussevitzky as music director in 1949. Munch continued Koussevitzky's practice of supporting contem- porary composers and introduced much music from the French repertory to this coun- try. During his tenure, the orchestra toured abroad for the first time, and its continuing series of Youth Concerts was initiated. Erich Henry Lee Higginson 12 Leonard Bernstein, John Cor- Leinsdorf began his seven-year term as music Sandor Balassa, Maxwell Davies, John Harbison, director in 1962. Leinsdorf presented numer- igliano, Peter Lieberson, Donald Mar- ous premieres, restored many forgotten and Leon Kirchner, Peter Panufnik, Roger Sessions, Sir neglected works to the repertory, and, like his tino, Andrzej and Oily Wilson—on the two predecessors, made many recordings for Michael Tippett, the orchestra's hundredth birth- RCA; in addition, many concerts were tele- occasion of reaffirmed the orchestra's commit- vised under his direction. Leinsdorf was also day has music. Under his direction, the an energetic director of the Berkshire Music ment to new has also expanded its recording activ- Center, and under his leadership a full-tuition orchestra releases on the Philips, Telarc, fellowship program was established. Also dur- ities to include Hyperion labels. ing these years, the Boston Symphony Cham- CBS, and founded, in 1964 they are ber players were ; From its earliest days, the Boston Sym- the world's only permanent chamber ensem- phony Orchestra has stood for imagination, ble made up of a major symphony orchestra's enterprise, and the highest attainable stand- suc- principal players. William Steinberg ards. Today, the Boston Symphony Orchestra, sever- ceeded Leinsdorf in 1969. He conducted Inc., presents more than 250 concerts al American and world premieres, made annually. Attended by a live audience of near- and recordings for Deutsche Grammophon ly 1.5 million, the orchestra's performances led the RCA, appeared regularly on television, are heard by a vast national and international 1971 European tour, and directed concerts on audience through the media of radio, tele- in the mid- the east coast, in the south, and vision, and recordings. Its annual budget has west. grown from Higginson's projected $115,000 to million. Its preeminent posi- Seiji Ozawa, an artistic director of the more than $16 is due not only to Berkshire Festival since 1970, became the tion in the world of music but also to grants orchestra's thirteenth music director in the the support of its audiences federal and state governments, and fall of 1973, following a year as music advisor. from the foundations, busi- Now in his tenth year as music director, Mr. to the generosity of many It is an ensemble that Ozawa has continued to solidify the orches- nesses, and individuals. richly fulfilled Higginson's vision of a tra's reputation at home and abroad, and his has orchestra in Boston. program of centennial commissions—from great and permanent Serge Koussevitzky 13 THE BSO SALUTES BUSINESS: PRESIDENTS Presidents Dinner Monday, May 9, 1983 Presidents at Pops Concert Tuesday, June 21, 1983 conducted by John Williams 'Presidents at Pops', The BSO's program designed to broaden the base of business and corporate support for the orchestra, has inaugurated its second successful year with an early sell out! There is still time, however, to place an advertisement in the Program Journal. For further information, contact Chet Krentzman, General Chairman, 332-3141; Vin O'Reilly, 574-5000 or Mai Sherman, 620-5000, Co-Chairmen; Lew Dabney, Program Journal, 542-8321; or Eric Sanders, Director of Corporate Development, Symphony Hall, 266-1492. The following companies will participate in this year's 'Presidents at Pops' Program. Samuel D. Gorfinkle Treasurer ADCO Publishing Inc. William O. Taylor Chairman Affiliated Publications (The Boston Globe) Andrew S. Kariotis President Alpha Industries Ray Stata President Analog Devices, Inc. Roger D. Wellington Chairman & CEO Augat Inc. Roderick M. MacDougall Chairman Bank of New England Ralph Z. Sorenson President & CEO Barry Wright Corporation Richard F. Pollard Executive VP BayBanks, Inc. Irving M. Bell President Bell Manufacturing Company Dr. Gregory H. Adamian President * *Bentley College James Cleary Managing Director Blyth Eastman Paine Webber, Inc. Stephen R. Levy President &. CEO Bolt Beranek and Newman Inc. Arthur P. Contas Vice President The Boston Consulting Group Thomas J. Galligan, Jr. Chairman &. CEO Boston Edison Company William H. Wildes President Buckley and Scott Co. Sherwood E. Bain Chairman **Burgess & Leith Incorporated Craig L. Burr General Partner **Burr, Egan, Deleage & Company Norman L, Cahners Chairman Cahners Publishing Co., Inc. Robert A. Cesari Managing Partner Cesari &. McKenna Henry L. Foster, D.YM. President Charles River Breeding Laboratories, Inc. Sanford H. England Vice President * *Citicorp, Inc. Lawrence Dress President **Clark-Franklin-Kingston Press Howard H. Ward President Commercial Union Insurance Companies Paul Crowley Chairman **Computer Partners, Inc. Vincent M. O'Reilly Managing Partner Coopers & Lybrand Jane P Fitzpatrick Treasurer Country Curtains Stephen E. Elmont President Creative Gourmets, Limited John J. Cullinane President Cullinet Software, Inc. Dr. David I. Kosowsky President Damon Corporation Lee Daniels President Daniels Printing Otto Morningstar Chairman Data Packaging Corporation George A. Chamberlain HI VP &. Treasurer Digital Equipment Corporation Robert M. Rosenberg President **Dunkin' Donuts J. P. Barger President Dynatech Corporation William J. Pruyn President Eastern Gas & Fuel Associates Richard E. Lee President Econocorp, Inc. Thomas O. Jones President Epsilon Data Management Richard Farrell President Farrell, Healer & Co. Merwin F. Kaminstein Chairman Wm. Filene's Sons George L. Shinn Chairman First Boston Corporation William L. Brown Chairman First National Bank of Boston John Humphrey Chairman * *The Forum Corporation 14 MOMMta John C. Avallon President GTE Sylvania Inc. Harry R. Hauser Partner Gadsby & Hannah Richard A. Smith President General Cinema Corporation Coleman M. Mockler, Jr. Chairman & CEO The Gillette Company Thomas E. Knott, Jr. President **Giltspur Exhibits/Boston Gordon F. Kingsley President Haemonetics Corporation Webster B. Brockelman, Jr. Sr.VP Frank B. Hall & Co. of Massachusetts E. James Morton President John Hancock Mutual Life Ins. Co. Stanley Hatoff President Hatoff's Donald R. Sohn President Heritage Travel, Inc. Malcolm D. Perkins Partner Herrick &. Smith Marlowe G. Teig Sr.VP Houghton Mifflin Company S. Paul Crabtree Sr. VP &. Regional VP E.F. Hutton & Company Inc. Paul J. Palmer Vice President IBM Corporation Arthur L. Goldstein President Ionics Incorporated Harry O'Hare President Johnson, O'Hare Co., Inc. G. Michael Hostage President & CEO **Howard Johnson Company Sven Vaule, Jr. President Jones &. Vining, Inc. Sumner Kaufman President Kaufman &. Co. Thomas Mahoney Sr.VP Kenyon &. Eckhardt Winthrop A. Short President Knapp King-Size Corporation Eugene Eisenberg President LEA Group Leonard J. Peterson Chairman Label Art, Inc. Philip Leach Chairman **Leach &. Garner Company Arthur H. Klein President Lee Shops, Inc. -Stuarts Melvin B. Bradshaw Chairman & CEO Liberty Mutual Life Insurance Co. Harry L. Marks Chairman Markes International Irving Wiseman President * *Mercury International Trading Corp. Arthur D. Little Chairman Narragansett Capital Corporation Edward E. Phillips Chairman New England Mutual Life Ins. Co. Gerry Freche President New England Telephone Company Peter Farwell President Newsome & Co., Inc. Irving Usen Executive VP **0'Donnel-Usen Fisheries Harold Thorkilsen President Ocean Spray Cranberries Inc. Herbert W Pollack President * *Parlex Corporation Thomas R. Heaslip President **Patriot Bankcorporation Herbert E. Morse Partner Peat, Marwick, Mitchell & Co. Maurice J. Hamilburg Executive VP Plymouth Rubber Company, Inc. Gerard A. Fulham Chairman & CEO Pneumo Corporation Joe M. Henson President &. CEO Prime Computer, Inc. Peter Sarmanian President * *Printed Circuit Corporation Robert J. Scales President **Prudential Insurance Company of America Thomas L. Phillips Chairman Raytheon Company William F. Craig President Shawmut Bank of Boston William Cook President Signal Technology Corporation (formerly Microsomes, Inc.) C. Charles Marran President Spencer Companies, Inc. Peter S. Maher Vice Chairman State Street Bank & Trust Co. Avram J. Goldberg President & CEO The Stop & Shop Companies, Inc. Arnold Hiatt President The Stride Rite Corporation Steven Baker President **Systems Engineering & Mfg. Corporation Peter A. Brooke President TA Associates David J. McGrath, Jr. President TAD Technical Services Corporation John F. Keydel Partner-in-Charge **Touche Ross & Co. Leonard Florence Chairman Towle Manufacturing Company Alan Lewis President * Trans National, Inc. R. Willis Leith Chairman Tucker, Anthony & R.L. Day, Inc. James V Sidell President & CEO United States Trust Company Seymour L. Yanoff VP & Gen. Mgr. WBZ-TV S. James Coppersmith VP&Gen. Mgr. WCVB-TV Winthrop P. Baker President & Gen. Mgr. **WNEV-TV Harry H.S. Chou Executive VP Wang Laboratories, Inc. Paul Montrone Executive VP Wheelabrator-Frye Frank B. Condon President Woodstock Corporation Malcolm L. Sherman Exec. VP &. Gen. Mgr Zayre Corporation **New supporters for President at Pops 1983. 15 * B° st°a P Jordan marsh Jordan Marsh u A Unit of Alliea Stores 16 BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor One Hundred and Second Season, 1982-83 Thursday, 7 April at 8 Friday, 8 April at 2 Saturday 9 April at 8 SEIJI OZAWA conducting MOZART Symphony No. 31 in D, K.297(300a), Paris Allegro assai Andante Allegro MOZART Recitative, "Temerari! sortite faori di questo loco!" and aria, "Come scoglio immoto resta," from Cosifantutte, K. 588 HILDEGARD BEHRENS INTERMISSION STRAUSS Death and Transfiguration, Tone poem for large orchestra, Opus 24 STRAUSS Interlude and Final scene from Salome HILDEGARD BEHRENS Thursday's and Saturday's concerts will end about 9:55 and Friday's about 3:55. Philips, Telarc, CBS, Deutsche Grammophon, and RCA records Baldwin piano Please be sure the electronic signal on your watch or pager is switched off during the concert. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox. 17 Week 20 MOKE Ml SIC f FORYOUR MONEY. Whether you're looking for an opera or an oratorio, a ballet or a baroque trumpet fanfare, you're sure to find what you want at a Barnes & Noble Classical Record Center. When it comes to classical music, you always get more for your money at Barnes & Noble. Barnes & Noble Classical Record Center 395 Washington Street (at Downtown Crossing) Mon., Thurs., 9:30-7 Tues., Wed., Fri., Sat., 9:30-6 S*ome say Jaeger is a state of mind. Others that it y is a certain look. Yet still others maintain that it s a way of life. They are all correct. Jaeger fashions create a state of mind which seeks a certain look that does, indeed, become a way of life. Jaeger fashions are created in London and seen the world over. If you are not yet familiar with Jaeger, why not corne in and get acquainted. LONDON Ladies' and Gentlemen's Sportswear Jaeger International Shop The Mall at Chestnut Hill, 199 Boylston Street, Newton, MA 02167 (617) 527-1785 18 Wolfgang Amade Mozart Symphony No. 31 in D, K.297(300a), Pahs Wolfgang Amade Mozart was born in Salzburg on 27 January 1756 and died in Vienna on 5 December 1791. He com- posed his "Paris" Symphony in the French capital during a concert tour in 177 8; on 12 June he reported that he had just finished the work. The first perform- ance took place at the Concert Spirituel in Paris six days later; there was no con- ductor as such, the performance being directed from the concertmaster's place by the principal violinist Pierre Lahous- saye. Wilhelm Gericke conducted the first Boston Symphony Orchestra performances on 28 and 29 October 1887. It has also been performed here under the direction of Arthur Nikisch, Emil Pour, Serge Koussevitzky, Charles Munch, and Erich Leinsdorf. Michael Tilson Thomas led the most recent subscription performances in Symphony Hall in March 1971; he also con- ducted it on a special Symphony Hall concert in July of the same year for a meeting of the International Congress of Pure and Applied Chemistry. Thomas also conducted the most recent BSO performance, which took place at Tanglewood in August 1972. The sym- phony is scored for pairs of flutes, oboes, clarinets, bassoons, horns, and trumpets, as well as timpani and strings. Pre-Revolutionary Paris was the greatest musical center of Europe, and a success there meant a chance to win fame and fortune. Mozart had enjoyed a glorious success when he had appeared in Paris as a child prodigy. He returned in 1778 —now twenty-two—as part of an extended concert tour designed to recall to the minds of fickle audiences the musi- cian who had so delighted them not many years before. Alas, he discovered to his chagrin that a former prodigy has little drawing power. Worse still, he had to admit to himself that the music-loving aristocrats through whom he hoped to make a good deal of money giving lessons and private concerts were often unreliable when it came to paying their bills. Generally speaking, the treatment Mozart received in Paris on this visit was abominable. One nobleman, who happened to be a fine flutist, hired him to give compo- sition lessons to his daughter, a superb harpist, and to compose a concerto for flute and harp for the two of them. It was traditional to pay a teacher after every dozen lessons, but this nobleman allowed Mozart to give two dozen lessons without pay—and then he and his daughter disappeared to the country! Even when he returned weeks later, he did not bother to inform the penurious composer that he was back; Mozart found out only by accident, and then had to endure the indignity of an insult from the housekeeper when he tried to get his money. Not surprisingly, this and similar experiences in other noble houses soured Mozart's views of the aristocracy. Yet Leopold Mozart, who had remained at home in Salzburg while Wolfgang's mother accompanied him on the journey constantly urged him to keep up the most favorable connections with the rich families and to do his best to ingratiate himself into Parisian society. That, he kept reminding Wolfgang, was the way to achieve success. Nonetheless, 19 Week 20 FOR FIRST QUALITY, CURRENT SEASON IO*1«3 NOBODY BUT NOBODY GIVES YOU STARTING AT SIZE 2 . . . THRU 16 BEYOND COMPARE! FROM 20% TO AS MUCH AS 40% ALWAYS, IN ALL OUR DEPARTMENTS Take Exit 56 East Off Route 128 9641913 Shop Daily 10-6 Wed. and Thurs. 10-9 Master and Visa Welcome. FASHIONS 201 NEEDHAM STREET, NEWTON 20 — practically all of Wolfgang's connections with individual patrons were at least mildly unsatisfactory—and often much worse! But there was one place, at least, where Mozart achieved a signal success during his Parisian stay—in the orchestral series known as the Concert Spirituel. At some point probably at the very end of May or beginning of June—he was invited by Jean Le Gros, the director of the series, to compose a symphony especially for one of its concerts. Mozart had been avoiding Le Gros for some time from indignation for the fact that Le Gros had never performed a sinfonia concertante that Mozart had written immediately after his arrival in Paris for four solo woodwinds and orchestra (the work is now lost). But the impresario lived in the same building as Mozart's friend, the singer Raaff , so the two kept running into one another. One day, while Mozart was waiting for Raaff, Le Gros came in to chat; after beating around the bush for a while, he came right out and requested a new symphony for performance on Corpus Christi (18 June). Mozart's reply was "Why not?" Le Gros : "Can I rely on this?" Mozart: "Oh yes, if I may rely with certainty on its being performed, and that it will not have the same fate as my sinfonia concertante." Mozart clearly determined that he would do his best to write a symphony in accordance with French musical taste (which he regarded as generally very low) while at the same time turning out the best work of which he was capable. He reveled in the large orchestra at his disposal with a fine woodwind section (it was the first time he had ever been able to include clarinets in a symphony), and he used the orchestra to brilliant effect. He followed the French taste in writing only three movements (no minuet, which was a customary feature of Austrian symphonies) and in not calling for the repeat of entire sections (such as the traditional exposition repeat in the first movement). On the whole, Mozart was confident of success. On 12 June he wrote to his father, announcing that he had just finished the symphony. He added his confident assertion that it would please "the few intelligent French people who may be there—and as for the stupid ones, I shall not consider it a great misfortune if they are not pleased." He noted that he had taken special pains in one area that was de rigeui-. "I have been careful not to neglect le premier coup d'archet." Mozart had been warned—and had no doubt heard for himself in various concerts—that Paris expected every symphony to begin with le premier coup d'archet (literally, "the first stroke of the bow")—a powerful Baccarat, the ultimate in crystal trom Boston's finest selection. the recognized source of fine china, crystal, and distinctive gifts in New England. 34 Newbury Street, Boston 536-3826 Spiral box, bVi" high, $ 1 1 0. 21 F^F*^ 2B3NI af BHnnfa &§£ mm inES EaasBK $swBar B£P Hi Strikingly conceived, magnificently executed, and truly unparalleled. 77 Florence Street, Chestnut Hill, MA Ultra-Luxury Condominium Suitesfrom 1350 to 3000 squarefeet, pricedfrom $225, 000 to $550, 000 (subject to change without notice) We welcomeyour inquiry. Sales Office: Wellesley Office Park, 40 William Street, Wellesley, MA 02181 Call: (617) 431-7447 weekdays and weekends 11 ' 1 .,•>.-'. •, tutti passage, often in unison, featuring an energetic down-bow on all the stringed instru- ments. "What a fuss the oxen here make of this trick! The devil take me if I can see any difference! They all begin together, just as they do in other places. It is really too much of a joke." To indicate the absurd degree of interest that French audiences took in this simple device, Mozart recounted (in French) a joke that Raaff had passed on to him from another composer, one Giuseppe Dall'Abaco, who was once asked by a Frenchman in Munich, "Monsieur, have you been to Paris?" "Yes." "And did you go to the Concert Spirituel?" "Yes." "What did you think of the first bowstroke? Did you hear the first bowstroke?" "Yes, I heard the first and the last." "What, the last? What do you mean?" "But of course, the first and the last —and it was the last bowstroke that gave me the greater pleasure." Yet, even while bowing to popular taste, Mozart had his own fun with the coup d'aichet in the first movement of his symphony and turned a convention on its ear to the delight of the connoisseurs in the audience. Leopold Mozart's opinion of French taste was no higher than his son's. He wrote to Paris on 29 June (after the premiere but before he had received any word about it), "I hope that Wolfgang's symphony for the Concert Spirituel was a success. To judge by the Stam- itz symphonies which have been engraved in Paris, the Parisians must be fond of noisy music." When Leopold wrote this letter, he could have no way of knowing that his wife was mortally ill in Paris. She died late on the afternoon of 3 July. Wolfgang could not bring himself to break the news directly to his father,- instead that very night he wrote a long letter designed to prepare him for the worst, by informing Leopold that his wife was seriously ill. But this news, grave though it was, was in part camouflaged by many other reports with which Wolfgang ended his letter. When he finished it, though, he wrote another letter to a friend in Salzburg, an Abbe Bullinger, informing him of the true state of affairs so that he could be available to console Leopold when he heard the worst. The dolorous letter of 3 July gives our only direct report of the Parisian reaction to Mozart's new symphony. Wolfgang's account is filled with absorbing and even humor- ous detail, which makes it hard to remember that he wrote it sitting by his mother's deathbed. But, then, the whole letter is essentially an act for his father's benefit. I have had to compose a symphony for the opening of the Concert Spirituel. It was performed on Corpus Christi day [18 June] with great applause, and I hear, too, that there was a notice about it in the Courier de 1' Europe—so it has given great satisfac- All our services are free —no strings attached. 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I decided next morning not to go to the concert at all; but in the evening the weather being fine, I at last made up my mind to go, determined that if my symphony went badly as it did at the rehearsal, I would certainly make my way into the orchestra, snatch the fiddle out of the hands of Lahoussaye, the first violin, and conduct myself! I prayed God that it might go well, for it is all to His greater honor and glory and behold—the symphony ; began. [Mozart's description of the effect, movement by movement, will be quoted later, but the performance went well] I was so happy that as soon as the symphony was over, I went off to the Palais Royal, where I had a large ice, said the rosary as I had vowed to do—and went home . . That last sentence—emphasizing religious exercise and an early return home— is prob- ably Wolfgang's calculated effort to demonstrate to his worried father that he is not allowing the big city to corrupt his morals. As mentioned above, Mozart made the most of the large orchestra and the brilliant ensemble playing of the Paris musicians, which may well have been ranked as the best in the world. He had just come from Mannheim, where he had enjoyed the playing of the orchestra, an "orchestra of generals," famous for its ensemble and its attention to refine- ments of dynamics—especially the "Mannheim crescendo"—that the Mannheim com- posers carefully noted in their scores. Mozart absorbed these ideas and exploited them fully, for perhaps the first time, in the Pahs Symphony. The opening Allegro assai gave the Parisians plenty of coup d'archet for their money. As expected, the entire symphony begins with a series of repeated chords on the stereo- *The idea of performing a brand-new, unfamiliar work after a single rehearsal, which seems to have consisted of running through the score twice, may strike us as outrageously cavalier treatment of a great composition— or, for that matter, of any new score—but it was standard procedure in Mozart's day—S.L decor international 1 171 newbury st. boston 24,2-1529 To delight the senses with fine dinners, special catering and private lunches. Serving dinner 1:30-10: W Mondaif thru Satur.dat/. handwoven rugs fl\fc 24 typed rhythmic pattern that signaled the very notion of "symphony" to a Parisian audience. But after the opening bars, the audience had no reason to expect to hear the premier coup d'archet for the rest of the work. It had served its primary purpose in getting the symphony started and shushing the auditors. But Mozart playfully filled the entire movement with references to that opening gesture, so that it is never absent long: a brilliant demonstration that even the most hackneyed stereotype can become a fresh, new idea in the hands of a genius. (And the Parisian audience, to its credit, recognized this fact.) But at the same time he filled the movement with a wealth of varied thematic ideas, and he reported the reaction to his father: Raaff was standing beside me, and just in the middle of the first Allegro there was a passage which I felt sure must please. The audience were quite carried away—and there was a tremendous burst of applause. But as I knew, when I wrote it, what effect it would surely produce, I brought it back at the close —and the reaction was a Da capo. The Andante also found favor during the performance, according to the composer's report, especially with knowledgeable musicians. But Le Gros felt that it was too complex to win real public approval. As Mozart reported to Leopold on 9 July: He declares that it has too many modulations and that it is too long. He derives this opinion, however, from the fact that the audience forgot to clap their hands as loudly and to shout as much as they did at the end of the first and last movements. For indeed the Andante is a great favorite with myself and with all connoisseurs, lovers of music and the majority of those who have heard it. It is just the reverse of what Le Gros says— for it is quite simple and short. But to keep Le Gros happy, Mozart composed a second Andante, and his final judgment • was, "Each is good in its own way— for each has a different character. But the last pleases me even more." Both Andantes survive for this symphony, one in Mozart's autograph score (in two variant forms), and one in a printed edition of the parts published by Sieber in Paris. The one almost always performed (and which will be performed here) is the manuscript version, which most people believe to be Mozart's later Andante, though there is still some dispute on this point. In any case, we have the composer's word that he considered both slow movements to be worthy. The last movement is another of Mozart's delicious jokes on the Paris audience. He had noticed that last movements also started forte (if only to hush the conversation that followed the applause between movements), but he caught the audience off-guard with a rushing figure in the second violins followed by a gentle, off-the-beat sigh in the first violins, while no one else plays. The gambit worked: "the audience, as I expected, said 'hush' at the soft beginning, and when they heard the forte, began at once to clap their hands." Even more daring was the second theme, a fugato which must have struck the pleasure-loving Parisians as frightfully learned (yet Mozart wears his contrapuntal learn- ing so lightly that we never for an instant lose our admiration of his sense of timing). Clearly the Paris Symphony is one of those fortunate works that perfectly gauges its audience's ability to follow. We still delight in Mozart's wit and quicksilver brilliance as did the Parisians at the Concert Spirituel performance in 1778. —Steven Ledbetter 25 Week 20 KEb mTjTj EEi¥ JjQjjTil'lill Hi tm 1 1 il% II ijl] J We've found that many investors are ies that are in vital industries. The uncomfortable with their present in- companies can be long established or vestment advisors. just emerging. But they have to have Because these advisors, it appears, distinct characteristics that set them rely too much on "hot tips." And they above the competition, take unnecessary risks. So call us at (617) 292-2650. 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The Boston Symphony Orchestra has given a single performance, in con- cert, of the complete opera; it took place at Tanglewood in July 1970 under the direction of Seiji Ozawa with soloists Phyllis Curtin (Fiordiligi), Rosalind Elias (Dorabella), Tom Krause (Gughelmo), George Shirley (Ferrando), Teresa Stratas (Despina), and Ezio Flagello (Don Alfonso), and the Tanglewood Festival Chorus, John Oliver, conductor. The aria "Come scoguo immoto resta" was performed by soprano Geraldine Farrar with the orchestra under the direction of Karl Muck in Boston on 31 October and 1 November 1913 (there were performances in New York and Philadelphia as well). The orchestral accompaniment of the aria is scored for two oboes, two clarinets, two bassoons, two trumpets, and strings. The Mozart operas that we consider among his greatest—including the three master- pieces to libretti of Lorenzo da Ponte—were not particularly successful in Vienna during the composer's lifetime. The Marriage of Figaro, after a lukewarm reception in Mozart's home town, had indeed had an extraordinary popularity in Prague, where it became the local rage, a fact that led directly to the creation of Don Giovanni for that city. But both works were too richly complex to attract the sustained attention of the court or the general populace in the Imperial capital. It must have been something of a surprise, then, when the Emperor himself, the enlightened reformist monarch Joseph II, specifically requested a new work from the duo. The Emperor even chose the subject, it seems,- at any rate there is a legend that he asked Da Ponte to use as the theme of his story a series of scandalous events that had startled and titillated the court not long before. We may take that legend with a large grain of salt, though, if only because there is a long theatrical tradition of tales involving two pairs of lovers who trade partners for a time (usually with comic effect) and then reconcile before the final curtain (English-speaking audiences probably think first of A Midsummer Night's Dream). In any case, for his only Mozart libretto that was not based on a pre-existent literary source, Da Ponte wrote what has been described as his most perfect libretto, an interplay of comedy and sentiment balanced with almost mathematical exactitude. Mozart then wrote a score for Da Ponte's comedy, music that expanded its range of human expression tenfold. Too much, apparently, for early listeners. The opera enjoyed only a handful of performances before being dropped from the repertory until long after Mozart's death. Audiences found it disconcerting to see stock theatrical types suddenly turning into real human beings who could be affecting as well as absurd. The basic tale 17 Week 20 was regarded as obscene in nineteenth-century Germany, and a puritanical composer like Beethoven, who certainly understood and admired Mozart's music as few could ever do, regarded Cosi fan tutte as little short of pornographic! In our century, however, Cosi fan tutte has justly taken its place, along with Figaro, Don Giovanni, and The Magic Flute, as one of the supreme creations in the pantheon of musical theater. Far from regarding it as an unperformed and little-regarded side of Mozart's genius, we now go to the opposite extreme of casually abbreviating its Italian title to the first word (which is meaningless by itself), inevitably mispronounced as "cozy," when it should be accented on the final syllable. "Cosi" means "thus" or "so"; one commentator has pointed out that it makes as much sense to refer to Mozart's opera by this title as to call three famous Shakespearean comedies All's, As, and Much. Nonetheless the cozy abbreviation will probably stand, if only because no one has ever succeeded in coming up with a convenient English translation for the epigrammatic Italian title. "Cosi fan tutte" means "Thus do all [women behave]" ("women" being implied by the feminine plural ending of tutte); various suggested versions exist: So Do They All, All Women Are Like That, etc. But they are clumsy and uninspiring, compared to the neat, punchy, and characteristic Italian title. So Italian it will remain. Weknowa good investment whenwe hear one. Lets all support the BSO. Tucker. Anthony & R.L. Day, Inc. Serving investors in 30 offices in the U.S. and abroad. Since 1892. One Beacon Street. Boston. (617) 725-2000. Tucker Anthony 28 . UB)&3SHH( Music at the Mall. . *: . -- A/? The Mall at Chestnut Hill •'-.="'••,- KW Early audiences probably had difficulty understanding that aspect of the score that we treasure most today: Mozart's unsurpassed ability to run a very fine line between the parody of operatic emotions and truly expressive human feeling. Though the plot turns lend themselves admirably to a purely farcical expression, Mozart constantly brings us up short by eloquent reminders of his characters' most intense feelings. Sometimes a laugh forms in our minds and on our lips, only to be extinguished in the melting beauty of a Mozartian turn that suddenly penetrates to the heart. Fiordiligi's grand aria "Come scogtio" illustrates Mozart's brilliance at characterization while at the same time composing for the talents of a particular singer (the almost inevitable practice of his day). He knew that the role would be sung by Adriana Ferraresi del Bene, who was renowned for an extraordinary range, extending from a firm alto register below middle C to a ringing top two octaves higher. Mozart was not exceptionally fond of this singer, and he took advantage of her wide range and the melodramatic character called for by this particular aria to make unusual musical demands. The two sisters have just said farewell to their sweethearts, who have ostensibly been called away to war (though the audience knows that this is all part of an elaborate bet to test the steadfastness of the two young women). Now the two men have returned, heavily mustached, in disguise, and each prepares to woo the sweetheart of the other. Fiordiligi's recitative begins expressing her outrage that these strange men should hope to find them romantically inclined at such a time. In Mozart's setting, she builds herself up to such a frenzy of indignation that the only possible continuation is a dramatic aria on the grandest possible scale. The text of the aria begins with one of the oldest and most threadbare gambits in the book—a heroic simile in the style of Metastasio that formed part and parcel of eight- How is it possible to dine well before symphony or the theatre? By asking for theTable t d'Hote menu. olonm 120 Huntington Avenue. Boston -Tel. 424-7000 29 eenth-century serious opera texts (and, of course, enjoyed a distinguished history in epic poetry going all the way back to Homer). Mozart opens his setting with a caricature of the grandly operatic statement of position: "My heart shall be as unmoving and steadfast as the boulder in the midst of a tempest." The singer must negotiate single notes separa- ted by wide intervals, so that she is forced to change from bottom to top of her range repeatedly. The melodic line, of course, is purposely overdone, intentionally ungainly, but Mozart is nonetheless very sparing of his effect, so as never to degenerate into vulgarity.* As the aria continues, it makes its comic effect by the employment of solemn and virtuosic coloratura to express the (purposely) banal sentiments that had already been rehashed hundreds and hundreds of times in earlier operas. This text would be roughly equivalent to a modern popular song in which all the rhyme words are of the "June- moon—spoon" school. Mozart's music makes us laugh in its mock-seriousness. The singer, of course, must be utterly in earnest while expressing these time-worn sentiments. But the music already tells us that "the lady doth protest too much," and we are not at all surprised when, in the second act, she succumbs to the charms of a new lover. —Steven Ledbetter *The unusual size of the vocal leaps at the opening of the aria has led to suggestions that the performer was expected to fill them in with ornamental scales or arpeggios (similar examples may be found for the slow movement of the piano concerto in A major, K.488). But William Mann reports having seen a manuscript copy made for a relatively unschooled soprano in which the traditional cadential ornaments have been inserted, but the large leaps are left untouched. Clearly even a less competent singer recognized that they were part of a special effect that should not be changed. PHILLIPS POND Thirty wooded acres bordering the Charles River as it winds through the South Natick countryside. Broad lawns surround an imposing Geor- gian mansion at the river's bend. Audubon sanctuaries on both sides of the Charles provide tranquil views and insure total privacy. This magnificent estate is the setting for twenty five individual con- dominium residences presently under construction. Their architecture is contemporary, drawing upon traditional New England forms and materials, echoing the dig- nity of the estate's manor house. The de- signs are spacious. The detailing and ^ appointments are exceptional. The natural surroundings are exquisite. Telephone 235-7141, day or ,\*j evening, for a personal appointment. m m4 Exclusively represented by Suburban Property Center 255 Washington Street, Wellesley Hills. 30 Recitative and aria, "Come scoglio," from "Cosi fan tutte' Temerari! sortite Bold ones! Leave Fuori di questo loco! E non profani this place! And let not the unhappy L'alito infausto degl'infami detti breath of your infamous words profane Nostra cor, nostra orecchio e nostri our hearts, our ears, and our affetti! affections! Invan per voi, per gli altri invan si In vain may you or others attempt cerca Le nostre alme sedur : l'intatta fede to seduce our hearts: the intact faithfulness Che per noi gia si diede ai cari which we have given to our dearly loved amanti ones Saprem loro serbar infino a morte, we can preserve unto death, A dispetto del mondo e della sorte. in despite of the world and of fate. Come scoglio immoto resta Just as a rock remains immobile Contra i venti e la tempesta, against the winds and the tempest, Cosi ognor quest'alma e forte so too is this heart ever strong Nella fede e neH'amor. in faith and love. Con noi nacque quella face With us was born that face Che ci piace e ci consola,- that so pleases and consoles us ; E potra la morte sola And only death will be able Far che cangi affetto il cor. to change the affection in my heart. Rispettate, anime ingrate, Behold, ye ungrateful souls, Questo esempio di costanza this example of constancy; ; E una barbara speranza and do not let a barbarous hope Non vi renda audaci ancor. render you still more audacious. —Lorenzo da Ponte \jlnz l/^E%±ian A Distinctive Selection of Oriental Rugs and Wall Hangings 1643 Beacon Street, Waban Square Hours: Tues-Sat 11-5, Thurs Evenings til 8 Phone (617) 964-2686 "Ob cAAou. Ojou D^novj cMout OxUnhxC J?up, <3L cMovl Ojou Q/aLu- Ok." 31 Lifestyle... Deluxe We overlook all of Boston ~ but nothing else nothing that adds to the quality of your life has been overlooked at The Towers of Chestnut Hill. We offer the ultimate in luxury, convenience, and service. At The Towers, a deluxe lifestyle is at your disposal: sound- conditioned and climate-controlled condominium suites; tennis courts, private exercise room and sauna, and enclosed year-round swimming pool; a spectacular view of the Boston skyline. 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Strauss himself conducted the first performance at the Eisenach Festival on 21 June 1890. The first American per- formance was given by Anton Seidl and the Philharmonic Society of New York at the Metropolitan Opera House on 9 Janu- ary 1892. Emil Pour and the Boston Sym- phony Orchestra gave the first Boston performances on 5 and 6 February 1897, on which occasion BSO program armota- tor Wilham Foster Apthorp wrote in his capacity as critic for the Boston "Transcript" that "Strauss' 'Death and Damnation' —we beg pardon— 'Death and Transfiguration' — is an unholy terror. It is like a musical reflection of all the deadly and noisome diseases flesh is heir to, viewed through a magnifying glass of three thousand diameters. Such a farrago of hospital sounds vividly suggests hospital sights! The worst of it is, the man does show talent. He has something really grand and great in his mind, and moreover a certain vague inkling of how to say it grandly" Death and Transfiguration has also been given at BSO concerts by WUhehn Gericke, Max Fiedler, Karl Muck, Ernst Schmidt, Pierre Monteux, Serge Koussevitzky, Richard Burgin, Bruno Walter, Eleazar de Carvalho, Charles Munch, Wilham Steinberg Leopold Stokowski, Joseph Silverstein, and Seiji Ozawa. The most recent Tanglewood performance was Stokowski' s in August 2964. Seiji Ozawa gave the most recent subscription performances in October 1975, but programmed it also on a Pension Fund concert in February 1977 and in Washington and Brooklyn the following month. Strauss' s score calls for three flutes, two oboes and English horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones, bass tuba, timpani, tam-tam, two harps, and strings. In the summer of 1889, Strauss was between posts, serving as rehearsal assistant at Bayreuth where Cosima Wagner held sway. He had just completed a three-year contract as third conductor at the Munich Court Opera, and that fall he would assume the assistant conductorship of the Weimar Opera. In hand were three projects which had been occupying him : the completed score of Don Juan, whose premiere under his own baton at Weimar on 11 November 1889 would secure his reputation as "the most significant and progressive German composer since Wagner"; the libretto for Guntram, his first opera,- and a rough sketch for Death and Transfiguration. Strauss had referred to this sketch already in a letter to his friend (and perhaps lover) Dora Wihan* written from *Dora's husband (for four years) was Harms Wihan, for a while principal cellist of the Munich orchestra, and for whom Strauss wrote his Opus 6 cello sonata, completed in 1883. Wihan's career as a soloist took him throughout Europe,- in 1888 he became professor of cello and chamber music at the Prague Conservatory. It was Wihan for whom Dvorak wrote his B minor cello concerto of 1894-95. 33 Week 20 J • ' y* - ' mm ssiffl - < ''•-•'''"'.•"•' H&H ' , ; '..-'. ' < ' | ^'"'V: Brewer &. Lord? Isn't that a discount book We're Brewer MAIN OFFICE: 40 Broad Street, Boston, MA 02109 Tel. (617) 426-0830 BRANCHES: Acton, Framingham, Bedford (Gail Aviation Insurance) &. Falmouth (Lawrence &. Motta) Personal &. Business Fire/Casualty/Surety /Marine/Auto/Homeowners/Risk Management &. Engineering Services/Life &. Employee Benefits 34 . . Munich on 9 April that year: . . . the artist Richard Strauss is in excellent shape, particularly since he ceases to be the Munich Hofmusikdirector. . . . True, it is difficult for me to leave Munich, away from my family and from friends such as Ritter . . . With the help of Ritter, I have now acquired a stronger viewpoint of art and life . . . Just think! I have joined the ranks of the Lisztians! In short, it is hard to imagine a more progressive viewpoint than the one which I now hold. I feel wonderful,- a new clarity has overcome me . . Where am I going? ... To the city of the future, Weimar, to the post where Liszt worked so long! I have great hopes . . In addition, I have sketched out a new tone poem, to be entitled probably Death and Transfiguration. I plan to begin to write the score right after Easter. Of Alexander Ritter, an ardent Wagnerian who had married Wagner's niece Julie, Strauss wrote that "his influence was in the nature of the storm-wind. He urged me on to the development of the poetic, the expressive in music, as exemplified in the works of Liszt, Wagner, and Berlioz." Strauss's first essay in music of this kind was his "symphonic fantasy," Aus Italien, of 1886, deriving from impressions of his first visit to Italy that For gracious living on a grand scale, share the legacy of this 1 3-acre nineteenth century estate. Landscaped by Frederick Law Olmsted, it preserves two historic mansions transformed into six palatial residences, plus carriage house and gate lodge. Brand-new single and townhouse homes, comparable in scale and quality, provide a total of just thirty-eight estate condominiums. Tennis, outdoor pool, and on-site Estate Manager. Preview priced from $290,000 to $588,000. FISHER HILL ESTATES 575 Boylston Street, Brookline, MA 02146. (617) 739-2277. 35 . summer. By this time, Strauss had come to be noticed as both a composer and conductor of significance. In Munich, where his father Franz Joseph Strauss was principal horn of the Court Opera for forty-nine years, he had written his first compositions when he was six, began piano lessons at four and violin lessons at eight, and had studied theory, harmony, and instrumentation from the time he was eleven. His musically conservative father wouldn't let him near a Wagner score, restricting him to "the classics" until he was in his early teens, and his appreciation for Wagner came only when he secretly studied the score of Tristan, which along with Mozart's Le nozze di Figaro would remain throughout his life one of his two favorite operas. In March 1881, Hermann Levi (who would conduct the premiere of Parsifal at Bayreuth the following year) led the Munich Court Orchestra in Strauss's D minor symphony, and in December 1882 Strauss accom- panied the violinist Benno Walter in a piano reduction of his own violin concerto in Vienna. But his first work really to make the rounds was the Serenade in E-flat for thirteen wind instruments, Opus 7, which was performed by Franz Wtillner at Dresden and by Hans von Biilow in Meiningen. Billow, who declared Strauss "by far the most striking personality since Brahms," offered the young composer the post of assistant conductor at Meiningen in the summer of 1885. Before returning to the Munich Opera To Build A Reputation . . . . . takes three integral ingredients. Excellence in service. A superb product And not a little bit of hard work. Panache understands this. In three and one half years, Panache has earned the reputation of serving the Handsomely furnished Executive Office Suites finest French nouvelle cuisine with are available in the Statler Office Building, adioining the Boston Park Plaza Hotel, a complimentary level of service on a daily, weekly or monthly basis. and ambience. We offer everything you need for immediate operation: Telephone Answering Service • Secretarial Service and Dictaphone Telex • Telecopier • Conference Room with Movie Screen If reputation is important to you, Photocopier Your Company Name on the Lobby Directory • come to Panache. For lunch. For PLUS We offer everything you want in the way of extras: reputation dinner. And keep your Room Service • Convenient Parking Nearby Valet Service • Four Restaurants on the Premises of good taste intact For information, please call Joanne T. Baker (617)426-9890 lunch: Thurs., Fri. 12-2 Saunders & Associates, AMO dinner: Tues.-Sat &10 Exclusive Leasing and Managing Agents reservations: 492-9500 free parking 798 Main Street, Cambridge 36 in April 1886, Strauss met Alexander Ritter, who was himself a composer as well as a violinist in the Meiningen orchestra, and who converted him to the cause of Berlioz, Liszt, and Wagner. The immediate result was Aus Italien. The original version of Macbeth was completed 1888, followed by Don Juan in 1888-89. Death and Transfigura- tion was next in the succession of tone poems which continued with Till Eulenspiegel's Merry Pranks (1895), Thus Spake Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898), and the Symphonia domestica (1903) before Strauss gave his full attention to opera, completing Salome in 1905 and Elektra in 1908. The piece had a great success when Strauss led the premiere at the Eisenach new music festival in 1890, and it continued to hold its own well into this century,- but in recent times the popularity of Death and Transfiguration has declined, perhaps because, with its specific imagery, it leaves less to the mind's eye and ear than Don Juan, perhaps because its subject matter is less immediately engaging and less consistently appealing than that of Till Eulenspiegel. But there are undeniably great pages in this score: the opening is bril- liantly evocative of the deathbed setting,- the flood of memories relived by the protagonist in the face of his struggle with death is, for the most part, convincingly and excitingly traced*; and the final transfiguration can be both moving and transcendent. Strauss does not require an exceptionally large orchestra—the use of two harps is the only real Those interested in a detailed thematic guide to Death and Transfiguration can find it in the first volume of Norman Del Mar's biography of the composer. mm M OH) 1070 m hQiumumiBur rlcftard stcaaaa fiarltn tdtgrtmu ami da Kpmiaaia &W £$t%2 Vit2 ? u a « * tfisder m thrasoeo ^srassrt mtmr " toa and vB?*immn% "mnn la aattosattaaatap eater mimmm • tcttard 4rte$ ,+ A telegram dated 12 February 1906 from Edward Grieg to Richard Strauss.- "Once again moved to tears by 'Death and Transfiguration' yesterday at the National Theater under Halvorsen. Edvard Grieg" 37 Week 20 novelty—and percussion is restricted just to timpani and tam-tam, the latter first heard at the moment of death. In his demands upon the orchestra, however, the composer knows no bounds, and he extends even further the difficulties already imposed by the score of Don ]uan. Strauss felt that audiences could only understand Death and Transfiguration if they knew quite specifically what it was about, and he saw to it that the programs distributed at the first performance included Alexander Ritter's verse treatment of his scenario,- this sixteen-line poem he also included on the title page of his score. The published edition incorporated an even more expansive verse treatment by Ritter, this one running sixty- two lines (see page 39). But the best introduction to Death and Transfiguration is the composer's own, from a letter he wrote in 1894: It was six years ago that it occurred to me to present in the form of a tone poem the dying hours of a man who had striven towards the highest idealistic aims, maybe indeed those of an artist. The sick man lies in bed, asleep, with heavy irregular breathing; friendly dreams conjure a smile on the features of the deeply suffering man,- he wakes up he is once more racked agonies,- ; with horrible his limbs shake with fever—as the attack passes and the pains leave off, his thoughts wander through his past life,- his childhood passes before him, the time of his youth with its strivings and passions and then, as the pains already begin to return, there appears to him the fruit of his life's path, the conception, the ideal which he has sought to realize, to present artistically, but which he has not been able to complete, since it is not for man to be able to accomplish such things. The hour of death approaches, the soul leaves the body in order to find gloriously achieved in everlasting space those things which could not be fulfilled here below. As the title of the piece suggests, the music is in two main sections: an "Allegro molto agitato" depicting the struggle with death, and the "Moderato" transfiguration of the final pages. These two parts are preceded by a slow introduction, which sets the scene and introduces two important themes which will figure prominently during the sick man's recollections. Both are presented rather dreamily, the first in the flute: * m "Wm $ f§*k and the other in the oboe: Ob. m j j Mj , taj j \> \ , pp The flute theme will recur in, among other forms, a lively variant for the horns to represent, in Ritter's words, "the impudent play of youth." The oboe theme suggests the innocence of "childhood's golden time" and will play a significant role in the closing transfiguration. The death struggle begins with (what should be) a frightening thwack of the kettledrum followed by the syncopated rhythm of the opening measures, the labored breathing of the sick man now greatly intensified. Just before the first phase of the struggle subsides, giving way to recollections of childhood and youth, a new idea emerges, played full out by the brass. This becomes the most important theme of the 38 — — work, that of "the ideal" which the dying man throughout his life "has sought to realize . . . but which he has not been able to complete": It is this theme (a close relative of the two themes quoted earlier: "the ideal" is an outgrowth of "childhood" and "youth") upon which the successive climaxes of the piece are built and which, together with the theme of "childhood," will achieve its apotheosis in the score's final pages. Strauss never forgot this music. Nearly sixty years later, in Im Abendrot, the last of his posthumously published Four Last Songs, he quoted the theme of "the ideal" just after the last line of text, "1st dies etwa der Tod?" ("Can this perhaps be death?"). And his view of death—and, one hopes, its aftermath—as he imagined it when he was only twenty-five must at the end have seemed very right to him. Among his last words were these, spoken to his daughter-in-law Alice when he was on his deathbed: "Death is just as I composed it in Death and Transfiguration." —Marc Mandel Alexander Ritter's preface to the pubhshed score of "Death and Transfiguration": In der armlich kleinen Kammer, In the small, wretched room, Matt vom Lichtstumpf nur erhellt, dimly lit only by a candle stump, Liegt der Kranke auf dem Lager.— the sick man lies upon his bed. Eben hat er mit dem Tod Even now he has been struggling Wild verzweifelnd noch gerungen. ferociously, despairingly, with death. Nun sank er erschopft in Schlaf, Now he has sunk, exhausted, into sleep, Und der Wanduhr leises Ticken and the quiet ticking of the clock Nur vernimmst du im Gemach, is all that you hear in the room, Dessen grauenvolle Stille whose dreadful silence Todesnahe ahnen lasst. gives heed to death's approach. Um des Kranken bleiche Ziige Upon the sick man's pale features Spielt ein Lacheln wehmutsvoll. plays a melancholy smile. Traumt er an des Lebens Grenze At the end of his life, does he dream now Von der Kindheit goldner Zeit? of childhood's golden time? ik rft ijt ri% A Doch nicht lange gonnt der Tod But death does not grant his victim Seinem Opfer Schlaf und Traume. sleep and dreams for long. Grausam riittelt er ihn auf, Cruelly he shakes him awake, Und beginnt den Kampf aufs neue. and the battle begins anew. Lebenstrieb und Todesmacht! The will to live and the power of death! Welch entsetzenvolles Ringen! What frightful struggling!— Keiner tragt den Sieg davon, Neither is victorious, Und noch einmal wird es stille! and yet again there is silence! 39 ''';•"" THE SYMBOL OF GOOD BANKING. Union Warren Savings Bank Main Office: 133 Federal Street, Boston, MA 02110 40 —— — Kampfesmiid zuriickgesunken, Battle-weary, sunk back, Schlaflos, wie im Fieberwahn, sleepless, as in a delirium, Sieht der Kranke nun sein Leben, the sick man now sees his life, Zug um Zug und Bild urn Bild, successively, scene by scene, Inn'rem Aug voriiberschweben. pass before his inner eye. Erst der Kindheit Morgenrot, First the morning-red of childhood, Hold in reiner Unschuld leuchtend! shining bright in pure innocence! Dann des Jiinglings keckres Spiel— Then the impudent play of youth— —Krafte iibend und erprobend —exercising and testing its strength Bis er reift zum Mannerkampf, until he ripens to manhood's struggle, Der um hochste Lebensgiiter which to life's highest achievements Nun mit heisser Lust entbrennt. is now kindled with burning passion.— Was ihm je verklart erschien, What once appeared glorified to him Noch verklarter zu gestalten, now takes yet clearer shape, Dies allein der hohe Drang, this alone the lofty impulse Der durchs Leben ihn geleitet. which leads him through his life. Kalt und hohnend setzt die Welt Cold and mocking, the world sets Schrank' auf Schranke seinem Drangen. obstacle after obstacle against his strivings. Glaubt er sich dem Ziele nah, Each time he believes himself nearer his goal, Donnert ihm ein „Halt" entgegen. a "Halt!" thunders against him. die dir zur Staffel! "Treat each obstacle as w Mach Schranke another rung, Immer hoher nur hinan!" climbing ever and always higher!" Also drangt er, also klimmt er, So he presses forward, so climbs higher, Lasst nicht ab vom heil'gen Drang. never desisting from his sacred striving. Was er so von je gesucht What he has always sought Mit des Herzens tiefstem Sehnen, with his heart's deepest yearning, Sucht er noch im Todesschweiss, he seeks still in the grip of death, Suchet—ach! und findet's nimmer. he seeks—alas! —yet never finds. Ob er's deutlicher auch fasst, Whether he grasps it yet more clearly, Ob es mahlich ihm auch wachse, whether it gradually grows upon him, Kann er's doch erschopfen nie, still he can never exhaust it, Kann es nicht im Geist vollenden. it can never, in his spirit, be fulfilled. Da erdrohnt der letzte Schlag Then the last stroke Von des Todes Eisenhammer, of death's iron hammer resounds, Bricht den Erdenleib entzwei, breaks the earthly body asunder, Deckt mit Todesnacht das Auge. covers the eye with death's night. •Ac s8c 30S sQc sic jc sk - s6c sSc ste Aber machtig tonet ihm But resounding mightily round him Aus dem Himmelsraum entgegen, from the expanse of heaven, Was er sehnend hier gesucht: is what he sought here, ever yearning: Welterlosung, Weltverklarung! World-redemption, world-transfiguration! —Alexander Ritter —translation by MM. 41 Week 20 New and Different. ADS "Atelier" components. A record player, receiver, cassette deck in matte black modules with superb electronics and some fascinating design touches. So flexible you can put them anywhere. For details see an ADS dealer or write Analog & Digital Systems, 305 Progress Way, Wilmington, MA 01887 Or call 800-824-7888, Operator 483. ADS. Audio apart ADS INC. Richard Strauss Interlude and Final scene from Salome Richard Strauss was born in Munich, Germany, on 11 June 1864 and died in Garmisch-Partenkirchen, Bavaria, on 8 September 1949. He began the score of Salome in the summer of 1903 and com- pleted it on 20 June 1905. The first performance was given at the Dresden Court Opera on 9 December 1905 with Ernst von Schuch conducting and Marie Wittich in the title role. Thomas Schip- pers conducted soprano Brenda Lewis in a Tanglewood-on-Parade performance of the final scene from Salome on 23 August 2954. Erich Leinsdorf introduced the final scene to the subscription concerts of the Boston Symphony Orchestra on 26 and 27 March 1965; Leontyne Price was the soloist. Gunther Schuller conducted a Tanglewood performance with Phyllis Curtin in August 2974, the most recent by the BSO. The scene was performed again at Tanglewood in the final week of the 1979 season, with Zubin Mehta and the New York Philharmonic replacing the Boston Symphony, which was on a European tour,- Montserrat Caballe was the soloist. The final scene calls for an orchestra of three flutes and piccolo, two oboes, English horn, heckelphone, four clarinets (also E-flat and bass clarinets), three bassoons and contrabassoon, six horns, four trumpets, four trombones, tuba, timpani, harp, celesta, tam-tam, cymbals, xylophone, snare drum, tambourine, triangle, glockenspiel, organ, and strings. The Interlude to be performed at these concerts includes bass drum as well. Oscar Wilde imagined his one-act play on Salome in the French language, for the biblical tale had long been a favorite in France. There had been fictional treatments by Huysmans and Jules Laforgue and others. He may have been intrigued by Flaubert's use of poetic imagery in his short story Herodiade. Massenet's opera Herodiade (of 1882) would have been a challenge for better characterization. Massenet's treatment did noth- ing more than help to keep the subject alive—the book was no more than a string of stock operatic situations. Oscar Wilde was more directly prompted by the pictures of Gustave Moreau so vividly described by Huysmans in his novel A Rebours. Wilde transformed the legend by giving it a new twist. It had always followed the brief accounts of the Evangelists Matthew and Mark, wherein Salome was an obedient dupe of her perfidious mother, who was the one who wanted Jochanaan's head. By making the young princess the real offender, the erotic pursuer, Wilde greatly heightened the dramatic impact. He opened up a character study in abnormal psychology far more interesting and favorable to his decadent leanings than the less complex murderesses of classical literature. This not only suited Wilde— it furnished Strauss ready to hand with a libretto equally suited to his dramatic purposes. Strauss was not the sort to be lured by deviations. He simply recognized an explosive text when he saw it. Strauss did not have to add a line. All he needed to do was to benefit by Wilde's unerr- 43 Week 20 ing stage craft, and excise passages which would be too discursive for musical treatment, or which would slow the action in the composer's far more intense and emotionally charged unfolding. Strauss kept virtually all of Salome's part. She and Jochanaan were the central figures throughout. There was a fantastically complete contrast between their characters, lending color and vital tension to their encounter, both histrionically and musically speaking. Herod and Herodias, not much more than foils to Strauss's purpose, were further developed in Wilde's full text. They are also a contrasted pair: the fear- crazed, superstitious monarch and his cold, mocking, down-to-earth queen, who deflates his dreamings. This sort of cynicism was quite to Wilde's taste, but it would only have slowed and impeded a musical score. Strauss was never diverted from his main purpose-, he minimized the Jewish arguments about the Messiah, omitted the Roman and Cappadocian visitors altogether, passed over the suicide of the Syrian captain almost too quickly. Strauss kept just enough of the metaphorical passages, the word imagery, to underline the characters and preserve the poetic charm of the text, create and hold the baleful atmosphere. Wilde needed more—he had to refer many times to the changes of the moon. The page of Herodias says as the curtain rises: "How strange the moon seems! She is like a woman rising from a tomb." Salome finds the moon as "a little piece of r When You Think Of Ain A Smile Can Do.... Great hotels are built around \ \ \ great restaurants. 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Please feel free to visit or call for further information Owned and Managed by Astor & McGregor (617) 542-0573 m silver, a little silver flower, cold and chaste." Herod finds that "she reels through the clouds like a drunken woman." At another time he finds the moon "blood-red." Strauss could accomplish this mood-building directly by the superior magic of his orchestra. He could make us feel "the beating of the wings of the Angel of Death" over the dark stage without a reminder from Jochanaan. Thus, Strauss and his immediate librettist stripped the dialogue of everything extra- neous to his purpose until there stood out two characters—the princess who holds our attention every moment, never leaves the stage, and the prophet whose presence is always felt, unseen or seen, alive or dead. The very sense of theater is in the confronta- tion of these two from opposite worlds—the holy man, ascetic, direful, impervious, and the wayward princess, possessed by wild sensual fantasy. Strauss slighted the others. Wilde gives the frenzied Herod a long and effective speech in his final attempt to stave off the inevitable. Strauss rules it out, for Salome must then if ever hold the center of the stage. When he wrote Salome, Strauss had composed the greater number of his symphonic poems, had evolved the elaborate musical schemes of Ein Heldenleben and the Sym- phonia domestica. He had as yet written no operas except the early Guntram (1892-93) and Feueisnot (1900-01). An opera utilizing the full Straussian orchestra, and telling its tale with all the descriptive and colorful resource of a tone poem, lasting two hours without break, was indeed a wonder to the operatic world of 1905. It would have been so even without the added sensation of a subject which operatic intendants faced with caution and censors with reluctance. Salome was a challenge to the world of stage music too powerful to be denied. Within a year it had been mounted upon thirty European stages. From the Dresden premiere of "Salome" in 1905: Salome demands the head of John the Baptist on a silver charger. 45 Week 20 There had been many representations of the Biblical tale of Herod, his queen, Herodi- as, and his stepdaughter, Salome, an inharmonious family at best. When Oscar Wilde conceived the subject in a new light, it became far more vivid as dramatic material. The Salome of Wilde was not the pliant tool of Herodias, merely obedient to her mother's purpose of vengeance upon John the Baptist. The daughter of Herodias, whom Wilde imagined enamored of the direful prophet, who angrily spurned her advances, was an imperious princess, conscious of her power, ready to forfeit the half of Herod's kingdom which was offered her in her determination to have the lips of the prophet submit to her own—even in a submission of death. It was the unreasoned and fanatical passion of Salome for the wan flesh of the prophet, stilled in death, which was found disturbing and scandalous in the year 1905. The subject had appealed to Oscar Wilde as "quelque chose de cuiieux et de sensuel." So he wrote to Sarah Bernhardt, for whom he enthusiastically envisioned the part. Wilde later denied having written the play for her, protesting that he was an "artist" and not an "artisan." Sarah Bernhardt agreed to appear in a production at the Palace Theatre, London, in 1892, but the censor refused a license. She never acted in the play, which was produced in Paris. The play as translated by Wilde's possessive friend, Lord Alfred Bruce Douglas, was rejected by the censor in London and was not performed there until 10 May 1905. Oscar Designer furniture teases your taste while Kaleidoscopes of the arts swirl old newness Dazzles of poshness panoramas uniqueness All threaded together by textures of soft velvet prices DECORATORS' CLEARINGHOUSE 1029 Chestnut St. Newton Upper Falls, Ma. (617)965-6363 Monday-Saturday 9:30 am - 5:30 pm H Wilde having been in jail at the time of the Paris production never saw his play per- formed, for he died in 1900. It was also in 1905 that the play in its German translation was mounted in Berlin, and had a considerable vogue in the German theaters. It was in this same year that Strauss completed his opera and witnessed its first per- formance in Dresden on 9 December. The first New York production of the opera aroused a storm of public discussion in which illustrious voices were raised in defense of the composer. A spokesman of what might be called the horrified faction was Henry T. Finck, who, in his book on Strauss, dismissed it as "a musical masterpiece, horribly, damnably wasted on the most outrageous scene ever placed before a modern audience." Political Boston was similarly offended and prevented a performance in that city. The Rev. Dr. William T McElveen bespoke many clergymen when he said from his pulpit of the Shawmut Congregational Church: "There is stimulus in that music, but it is to the beast that is in us all." The revulsion from the tale of Strauss's Salome when it first appeared has diminished through the years. People no longer surreptitiously look up the word "necrophilism" in the dictionary. The world is less concerned with "sordid details" than gratified by a prodigious achievement of the musical stage. Distasteful allusions bother us less. If textual aberrations should keep us from enjoying great operas, we should miss the beauties of Die Walkure, Otello, Rigoletto, or other operas where outrageous deeds are accepted by audiences with unruffled calm. The scene is a moonlit terrace before the palace of Herod, the Tetrarch of Galilee. This is Herod Antipater, the grandson of Herod the Great, in whose reign Jesus was born. This younger Herod has taken to wife Herodias, having conveniently disposed of her first husband, who was his brother. Salome, who is the daughter of Herodias by the earlier marriage, emerges from the banquet hall, annoyed by the lustful glances of Herod, her stepfather. There rises from an empty cistern in the rear of the court the admonishing voice of the prophet Jochanaan (the Hebrew name for John the Baptist), who is impris- oned there. Salome is interested and curious to see the man enshrouded in darkness and orders the young Syrian captain of the guard to have him brought forth. The captain is appalled. This would be against the positive orders of the Tetrarch, but Salome, intrigued by the strange voice, rewards the captain with a smile, her only notice of him, and, being hopelessly infatuated with her, he obeys. When Jochanaan stands before her, proud and baleful, she praises his eyes, "black lakes troubled by a fantastic moon," his chaste flesh "cool like ivory," his voice "like sweet music to my ears." His only replies to her advanc- es are fierce denunciation. But she is a princess whose every whim is granted, and his rejection only piques her desire. The captain, in despair of this situation, fraught with danger and evil, stabs himself and falls between the two. Salome, aware only of her intent, keeps repeating: "I will kiss thy mouth, Jochanaan." The Interlude to be performed at these concerts follows the return of the prophet into his cistern. It is played before a silent stage, for lines of Wilde are here omitted, but the orchestra implies much. Salome seems to be reaching her vengeful resolve. A succession of themes connected with her and Jochanaan are worked into the music, and these will return to telling effect in the opera's final scene. Herod, attended, and followed by his spouse, enters in search of Salome. He is still lusting after her and wants her to dance for him. Herodias forbids it, but the willful princess who has reasons of her own defies her mother. At this point the Tetrarch steps in a pool of blood and is told that the young captain has killed himself. He fears an evil omen, for, being a typical Herod, he has much blood on his own conscience. Neverthe- 47 Week 20 Strauss SPRACH This season ZARATHUSTRA' take the Symphony Boston Symphony Ozawa 6514 221 O 7337 221 B with you MAHLER 8th IS OZAWA g SYMPHONY OF A THE RITE OF SPRING THOUSAND (LESACREIXJPRINTEMPS) BOSTON SYMPHONY on OZAWA X#m BOSTON / PHILIPS SYMPHC m Records & 6769 069© 7654 069 03 9500 781 7300 855 El TCHAIKOVSKY S Cassettes 1812 OVERTURE HOIST COLIN DAVIS TH€ PIRN€TS BOSTON SYMPHONY oznwn BOSTON SVMPHONV 9500 892 O 7300 892 Q 9500 782 O 7300 856 [3 Grieg - Schumann Piano Concertos Arrau Davis Imported Pressings Boston " Symphony Audiophile Sound 9500 891 O 7300 891 f3 These BSO Records & Cassettes Specially Priced at all Coop Outlets list price $ 10.98 SALE PRICE $6.99 per disk list price $12.98 SALE PRICE $7.99 per disk Cambridge: 1400 Massachusetts Ave. & 84 Massachusetts Ave. Boston: 396 Brookline Avenue & 1 Federal Street © 1982 PolyGram Classics, Inc. 48 less he urges her to begin and when she shows reluctance, promises as a reward anything she may ask, even if it be half his kingdom. She tempts him with her voluptuous dance, and, having finished, she states her price: she will have the head of Jochanaan upon a silver charger. Herod recoils in a transport of terror. Jochanaan is a man of supernatural powers who is said to have seen God. He has been warning of the approach of death. It might be Herod's own. Herodias, on the other hand, is pleased at this turn of events. She would like to be rid of Jochanaan, who has been reviling her for her "incestuous" marriage, calling her a "Jezebel," and "abomination." Salome holds Herod to his oath. To his frantic offer of priceless jewels, she will only answer: "I demand the head of Jochanaan." At last he sinks back into his seat. "Let her be given what she asks! Of a truth, she is her mother's child!" He passes his ring, his seal of death, to Naaman, the executioner, who with his sword descends into the cistern. There is a dreadful suspense, the silence broken only by Salome who peers into the impenetrable darkness below, anxious lest the executioner fail of his duty. A huge black arm, the arm of the executioner, comes forth from the cistern, bearing on a silver shield the head of Jochanaan. Salome seizes it.* *For his libretto, Strauss used the translation of Oscar Wilde's play into German by Hedwig Lachmann, which had a considerable vogue in German theaters. The English given here is that of Lord Alfred Douglas. A caricature by George Villa: Salome presents the head of Strauss the rose-hearer ("Der Rosenkavalier") on a silver tray. 49 Week 20 . . . . . SALOME: Ah! Du wolltest mich nicht deinen Ah! Thou wouldst not suffer me to kiss Mund kiissen lassen, Jochanaan. thy mouth, Jokanaan. Wohl, ich werde ihn jetzt kiissen. Well, I will kiss it now. Ich will mit meinen Zahnen I will bite it with my teeth hineinbeissen, wie man in eine reife as one bites a ripe fruit. Frucht beissen mag. Ja, ich will ihn jetzt kiissen, deinen Yes, I will kiss thy mouth, Mund, Jochanaan. Ich nab' es gesagt. Jokanaan. I said it: Hab' ich's nicht gesagt? did I not say it? Ja, ich hab' es gesagt. Yes, I said it. Ah! Ah! Ich will ihn jetzt kiissen . . Ah! ah! I will kiss it now . . Aber warum siehst du mich nicht an, But, wherefore dost thou not look at Jochanaan? Deine Augen, die so me, Jokanaan? Thine eyes, that schrecklich waren, so voller Wut were so terrible, so full of rage und Verachtung, sind jetzt geschlossen. and scorn, are shut now. Warum sind sie geschlossen? Wherefore are they shut? Offne doch die Augen, Open thine eyes! erhebe deine Lider, Jochanaan! Lift up thine eyelids, Jokanaan! Warum siehst du mich nicht an? Wherefore dost thou not look at me? Hast du Angst vor mir, Jochanaan, Art thou afraid of me, Jokanaan, dass du mich nicht ansehen willst? that thou wilt not look at me? . . Und deine Zunge, sie spricht kein Wort, And thy tongue, it says nothing now, Jochanaan, diese Scharlachnatter, Jokanaan, that scarlet viper, die ihren Geifer gegen mich spie. that spat its venom upon me. Es ist seltsam, nicht? It is strange, is it not? Wie kommt es, dass diese rote Natter How is it that the red viper sich nicht mehr riihrt? stirs no longer? Du sprachest bose Worte gegen mich, Thou didst speak evil words against me, Salome, die Tochter der Herodias, me, Salome, daughter of Herodias, Prinzessin von Judaa! Princess of Judaea! Nun wohl! Ich lebe noch, Well, Jokanaan, I still live, aber du bist tot, but thou, thou art dead, und dein Kopf gehort mir. and thy head belongs to me. Ich kann mit ihm tun, was ich will. I can do with it what I will. Ich kann ihn den Hunden vorwerfen I can throw it to the dogs und den Vogeln der Luft. and to the birds of the air. Was die Hunde iibrig lassen, sollen die That which the dogs leave, the birds Vogel der Luft verzehren . . of the air shall devour . . Ah! Ah! Jochanaan, Jochanaan, Ah! Jokanaan, Jokanaan, du warst schon. thou wert beautiful. Dein Leib war eine Elfenbeinsaule Thy body was a column of ivory auf silbemen Fiissen. set on a silver socket. Er war ein Garten voller Tauben It was a garden full of doves in der Silberlilien Glanz. and of silver lilies. Nichts in der Welt war so weiss There was nothing in the world so wie dein Leib. white as thy body. Nichts in der Welt war so schwarz There was nothing in the world so wie dein Haar. black as thy hair. In der ganzen Welt war nichts so rot In the whole world there was nothing wie dein Mund. so red as thy mouth. Deine Stimme war ein Weihrauchgefass, Thy voice was a censer, und wenn ich dich ansah, and when I looked on thee horte ich geheimnisvolle Musik. I heard a strange music. Oh! Warum hast du mich nicht Ah! wherefore didst thou not angesehen, Jochanaan? look at me, Jokanaan? 50 . Du legtest iiber deine Augen die Binde Thou didst put upon thine eyes the Eines, der seinen Gott schauen wollte. covering of him who would see his God. Wohl! Du hast deinen Gott gesehen, Well, thou hast seen thy God, Jochanaan, aber mich, mich, mich Jokanaan, but me, me, me, hast du nie gesehen! thou didst never see. Hattest du mich gesehen, If thou hadst seen me, du hattest mich geliebt! thou wouldst have loved me. Ich dtirste nach deiner Schonheit. I am athirst for thy beauty; Ich hungre nach deinem Leib. I am hungry for thy body. Nicht Wein noch Apfel konnen mein Neither wine nor fruits can Verlangen stillen . . appease my desire. Was soil ich jetzt tun, Jochanaan? What shall I do now, Jokanaan? Nicht die Fluten, noch die grossen Neither the floods nor the great Wasser konnen dieses brunstige waters can quench my passion. Begehren loschen Oh! Warum sahst du mich nicht an? Oh! wherefore didst thou not look at me, Jokanaan? Hattest du mich angesehen, If thou hadst looked at me du hattest mich geliebt. thou wouldst have loved me. Ich weiss es wohl, du hattest mich Well I know that you wouldst have geliebt, und das Geheimnis der Liebe loved me. And the mystery of love ist grosser als das Geheimnis des Todes. is greater than the mystery of death. Herod is terrified at the monstrous sight, draws his cloak over his face, and orders the torches extinguished. A great black cloud covers the moon, and the Tetrarch begins to climb the staircase. Ah! Ich habe deinen Mund gekusst, Ah! I have kissed thy mouth, Jochanaan. Ich habe ihn gekusst, Jokanaan. Ah! I have kissed deinen Mund, es war ein bitterer thy mouth. There was a bitter Geschmack auf deinen Lippen. taste on thy lips. Hat es nach Blut geschmeckt? Was it the taste of blood? Nein! Doch es schmeckte vielleicht No! But perchance it is the taste of nach Liebe . . .Sie sagen, dass die Liebe love . . .They say that love bitter schmecke. . . Allein was tut's? hath a bitter taste. . . But what of that? Was tut's? Ich habe deinen Mund what of that? I have kissed thy gekusst, Jochanaan. Ich habe ihn mouth, Jokanaan. I have kissed gekusst deinen Mund! thy mouth. A moonbeam falls on Salome, covering her with light. Herod, turning around and seeing her, gives the order "Kill that woman!" The soldiers rush forward, according to the last stage direction, and "crush beneath their shields Salome, daughter of Herodias, Princess of Judea." —John N. Burk John N. Burk, whose writings on music include biographies of Beethoven and Clara Schumann, was the Boston Symphony's program annotator from 1934 to 1966. 51 Week 20 . SINCE 1792, FAMILIES HAVE PUT THEIR RUS | IN Thrift and foresight have been bringing families to State fTlTE Street for generations Ji IJVI E ^^ seryices ^e sought out because we are more than a (7^7, )PP ! discreet and attentive trustee. We also provide particularly 9) I KKK !• well-informed investment management. Whether your objective is the education of your children, a secure retirement, or preservation of capital, we will work closely with you and your lawyer to devise a suitable trust. Naturally, you are welcome to participate in all decisions, or you may choose to leave matters in our care. Whichever you decide, you will be kept regularly apprised of the pro- gress of your account. We invite you to put your trust in us. Call S. Walker Merrill, Jr., Senior Vice President, Investment Management. (617) 786-3279. State Street Bank and Trust Company. Quality since 1792. 9 StateStreet State Street Bank and Trust Company, wholly-owned subsidiary of State Street Boston Corporation, 225 Franklin Street, Boston, MA 02101. Offices in Boston, New York, San Francisco, London, Munich, Hong Kong, Singapore. Member FDIC. © Copyright State Street Boston Corporation 1982. 52 . More . . Stanley Sadie, who wrote the fine article on Mozart in The New Grove (the article has just been published separately by Norton), is also the author of Mozart (Grossman, also paperback), a convenient brief life-and-works survey with nice pictures. Alfred Einstein's classic Mozart-. The Man, the Music is still worth knowing (Oxford paperback). Much of the older literature on Mozart (including Einstein) needs reconsideration in the light of Wolfgang Hildesheimer's Mozart, which has just been published in English translation (Farrar Straus Giroux). When first published in German in 1977, it climbed promptly to the top of the best-seller lists! Most surprisingly, perhaps, this challenge to the received tradition of Mozart studies comes not from a musicologist but from an artist and novelist who has studied all the primary sources (especially the composer's letters) for over a quarter of a century. His book is not a chronological survey of the composer's life but rather a 366-page essay built up out of many short sections dealing primarily with Mozart's character, personality, and genius. Though it is sometimes frustrating to read in this format, the cumulative effect of the author's observations and criticism of the old "haloed" Mozart is to provide a stimulating new point of view to readers who have not followed the recent specialist literature on the composer. There are chapters on the Mozart symphonies by Jens Peter Larsen in The Mozart Companion, edited by Donald Mitchell and H.C. Robbins Landon (Norton paperback), and by Hans Keller in The Symphony, edited by Robert Simpson (Pelican paperback). Donald Francis Tovey's analysis of the Paris Symphony is to be found in the sixth volume of his Essays in Musical Analysis (Oxford, also paperback). Edward J. Dent's classic study Mozart's Operas (Oxford paperback) includes a useful section on Cosi fan tutte. William Mann's recent book The Operas of Mozart (Oxford) provides a sensible and musically informed appreciation of every Mozart opera, including the ones Dent omitted from his discussion because they were scarcely known in his day. Unbeatable at the price is Spike Hughes's Famous Mozart Operas (Dover paperback), which is especially useful for a relative newcomer to the magical world of Mozart. As for recordings of the symphony, an important series of records has recently appeared containing all of the Mozart symphonies performed on original instruments by an orchestra of the precise size and physical placement of the various orchestras for which Mozart composed them (neither size nor arrangement was standardized in his day, and the music sometimes reflects the character of a given ensemble). The Paris Symphony will be included on Vol. 6 of the series, the only one not yet released,- played by the Academy of Ancient Music under the direction of Jaap Schroder (Oiseau-Lyre), earlier volumes have provided a sound and style of Mozart playing different from anything you have ever heard,- 1 personally find the recordings fresh and bracing. Another early music specialist, Nicolaus Harnoncourt, has begun a Mozart symphony cycle, but with a standard modern orchestra, the Concertgebouw of Amsterdam. I have not yet had a chance to hear his just-released version of the Paris Symphony (Telefunken, coupled with Symphony No. 33). The other recommended single-disc recording of this symphony is that by Neville Marriner with the Academy of St. Martin-in-the-Fields (Philips,- coupled with the Jupiter Symphony). A number of historically important recordings of Cosi fan tutte are no longer available, but one that will not lose its interest despite its age is the famous Fritz Busch performance at Glyndeboume in 1935 with Ina Souez, Luise Helletsgruber, Heddle Nash, John Brown- lee, and Willi Domgraf-Fassbaender (available as a three-record set on both Seraphim and Turnabout). Among the most highly praised of modern Mozart opera recordings, both for 53 Week 20 HL*# The impeccably made salad is ofequal importance to me as the impeccably made bed. COPLEY PLA The Grande Dame ofBoston. Operated bv Hotels ofDistinction, Inc., Copley Square, Boston, Massachusetts 02116. Reservations: tollfree, 800-225-7654, oryour agent. Vvomen who prefer the timeless style of contemporary classic clothing agree. When you're looking to the future, but would prefer not to let go of the best of " the past, leave it to Tie Talbots. TW aJboTt Since 1947 458 Boylston Street, Boston. Visit our other stores: Acton, Duxbury, Hingham, Lenox, Osterville, South Hamilton, Wellesley. 54 style and quality of performing ensemble, are the recordings of Sir Colin Davis with the chorus and orchestra of the Royal Opera House, Covent Garden; his Cos! fan tutte features Montserrat Caballe, Janet Baker, Nicolai Gedda, and Wladimiro Ganzarolli (Philips, four discs). Fiordiligi was a specialty of Elisabeth Schwarzkopf, whose earlier (and preferable) recording is no longer available; but she can still be heard, along with Christa Ludwig and Ottakar Kraus, in a performance conducted by Karl Bohm (Angel, four discs). -S.L. The big biography of Richard Strauss is Norman Del Mar's, which gives equal space to the composer's life and music (three volumes, Barrie and Rockliff , London); Death and Transfiguration and Salome are given detailed consideration in Volume 1. Michael Kennedy's account of the composer's life and works for the Master Musicians series is excellent (Littlefield paperback), and the symposium Richard Strauss: The Man and his Music, edited by Alan Walker, is worth looking into (Barnes and Noble). Kennedy has also provided the Strauss article in The New Grove. William Mann's Richard Straws: A Critical Study of the Operas is a very good introduction to the composer's works for the stage (Cassell). Dover publications has recently issued the complete orchestral score of Salome in a relatively inexpensive paperback edition. Dover has also printed scores of the six most famous tone poems, including Death and Transfiguration, in two paperbound volumes. Despite some uneven orchestral playing, Klaus Tennstedt's performance of Death and Transfiguration with the London Philharmonic comes across as deeply felt, highly personalized, and ultimately convincing—and it is coupled with a very fine performance of the Four Last Songs with soprano Lucia Popp (Angel). Herbert von Karajan's Death and Transfiguration with the Berlin Philharmonic is gorgeously played, but so much "for the moment" that the sweep of the whole is lost (DG coupled with soprano Gundula ; Janowitz's beautifully sung but rather characterless account of the Four Last Songs). Otto Klemperer's soft-edged performance with the Philharmonia Orchestra is good, but it lacks the necessary intensity (Angel; with a good performance of Strauss's Metamorphosen for strings). There are two good budget-label recordings of Death and Transfiguration- George Szell's with the Cleveland Orchestra (with Don Juan and Till Eulenspiegel; Odyssey), and Rudolf Kempe's with the Dresden State Orchestra (with Till Eulenspiegel and the "Dance of the Seven Veils" from Salome; Seraphim). Toscanini's performance with the NBC Symphony is a very great one but long out of print (it may show up in stores as an RCA import). Hildegard Behrens has recorded the whole of Salome with Herbert von Karajan and the Vienna Philharmonic,- this is the best available recording of the complete opera and is first-rate (Angel; others in the cast include Agnes Baltsa, Wieslaw Ochman, and Jose Van Dam). The only recording of the final scene as an excerpt listed in the current Schwann is Montserrat Caballe's with Leonard Bernstein and the Orchestre National de France (DG with a selection of songs and the "Dance of the Seven Veils"), but Leontyne Price's ; performance with Erich Leinsdorf and the Boston Symphony occasionally turns up in second-hand record stores (RCA with the "Dance of the Seven Veils," and the Awaken- ; ing Scene from Die dgyptische Helena). Gwyneth Jones's recording of Salome with Karl Bohm conducting the Hamburg Staatsoper is of interest for the text booklet, which contains the complete Oscar Wilde play with the material of the opera libretto set off in boldface type (DG). —M.M. 55 Handicapped kids have a lot to give t:ii m. and the Cotting School has a lot to give handicapped children. We offer a 12-year day school program for physically handicapped children with normal intellectual capability. Included in school services are both vocational and college preparatory training, transportation (in Boston)-, medical, dental, and vision care, speech and physical therapy, social development programs, lunch, testing, recreation and summer camping. Without any cost whatsoever to parents. Right now, we have openings for handicapped, children. Please pass the word. Call or write William J. Carmichael, Superintendent, Cotting School for. Handicapped Children. 241 St. Botolph Street. Boston. Massachusetts 021 15. (617)536-9632. Cotting School for Handicapped Children a private, non-profit, nonsectarian, Ch. 766-approved institution supported primarily by gifts, grants, legacies and bequests. First Chair in Eating & Drinking NEW YORK SIRLOIN • PRIME RIB of BEEF LONDON BROIL • BARBEQUED BABY BACK RIBS BROILED BOSTON SCHROD • BAY SCALLOPS BAKED STUFFED SHRIMP • BROILED SWORDFISH BAKED STUFFED HADDOCK • BOSTON BLUEFISH EATING & gMj&mDRINKING & FREE VALET PARKING • Ladies Invited • 344 Newbury St., Boston, MA • 266-3000 Other Saloons located at The Mall at Chestnut Hill and The South Shore Plaza, Braintree. 56 Hildegard Behrens Dutchman and Tannhduser, among other operas. Hildegard Behrens was born in Oldenburg, Germany. She studied voice at the Freiburg Conservatory and in 1972 joined the Deutsche Oper-am-Rhein in Dusseldorf, where she was heard by Herbert von Karajan, who contracted her to sing Salome at the Salzburg Festival and on a subsequent recording of the opera for Angel. In 1976, Ms. Behrens made her Covent Garden debut as Leonore, following this that same year with her debut at the National Theatre of Prague as Katya Kabanova. 1976 also brought her Metropolitian Opera debut as Giorgetta in Puccini's 11 tabarro, and the Salz- burg Salome under Karajan followed in 1977. The 1978-79 season saw her first Metropolitan Soprano Hildegard Behrens has won acclaim Opera Fidelio, a role she also sang and record- for a wide range of repertory; from the Mozart ed with Sir Georg Solti and the Chicago Sym- heroines to Marie in Berg's Wozzeck, Agathe phony. In 1979 she returned to the Salzburg Festival in Der Freischiitz, Elsa in Lohengrin, and lead- to perform the title role in Strauss's . ing roles in Janacek's Katya Kabanova and Ariadne aufNaxos conducted by the late Karl Smetana's The Bartered Bride. Ms. Behrens Bohm. This summer, Ms. Behrens will sing made her Boston Symphony debut in two Brunnhilde in the new Bayreuth staging of performances under Seiji Ozawa's direction at Wagner's Ring, to be conducted by Sir Georg Tanglewood last summer, singing the title role Solti and directed by Sir Peter Hall. in a staged production of Fidelio and, on the final conceit of the season, music of Beetho- ven and Wagner. This season she has also appeared with the New York Philharmonic and the Chicago Symphony, and in the Metro- politan Opera's productions of Mozart's Ido- Disbursement meneo, which was televised nationally, and analysis Wagner's Die Walkure. Next season at the Met, Ms. Behrens will sing Isolde in Wagner's Tristan and Donna Anna in Mozart's Don Personal investing Giovanni. Last season she performed in the Verdi Requiem with the Cleveland Orchestra Tax planning as part of a farewell concert tribute to Lorin Maazel at Carnegie Hall and sang the role of Tax preparation Isolde under Leonard Bernstein's baton in Munich, a production that was televised and recorded. She also appeared as Leonore in May we help you? Moneyworks, Inc. 20 Park Pfaza Fideho at the Paris Opera under the direction Boston, MA 021 16 of Seiji Ozawa. Ms. Behrens has also appeared telephone 617-357-5253 in Strauss's Die Frau ohne Schatten and Ariadne aufNaxos, and Wagner's Frying 57 The Boston Symphony Orchestra gratefully acknowledges the following corpora- tions and professional organizations for their generous and important support in the past or current fiscal year. (* denotes support of at least $2,500.) Business Honor Roll ($10,000 and over) Bank of New England Arthur D. Little, Inc. Roderick M. MacDougall John F. Magee BayBanks, Inc. Mobil Chemical Corporation William M. 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Jones of senior-level programmer/analysts available *The Foxboro Company for on-site support. Bruce D. Hainsworth Local Office at 50 Staniford St., Suite 800, *GTE Electrical Products Boston, MA 021 14. Call (617) 720-1519. John C. Avallon *GenRad, Inc. William R. Thurston IBM Corporation Bradford Towle Instron Corporation Harold Hindman LFE Corporation Herbert Roth, Jr. Management Decision Systems, Inc. John S. Wurts * Polaroid Corporation William J. McCune, Jr. * Prime Computer, Inc. John K. Buckner * Printed Circuit Corporation Peter Sarmanian * Raytheon Company Thomas L. Phillips Technical Operations, Inc. Marvin G. Shorr Thermo Electron Corporation Dr. George N. Hatsopoulos 61 continuingn tJHtdition/ .ytsy t/icdBoston fJi/vrifeAofUf OrcAestra beains us second century and' tflouert^.\ffirtsema begins /us second'aecatA uuiA ntc^rningi^ranuisica/, tA& association/ continues autA tA&Zwiuuarfeature ' ' '/toe onitramusico/ '— a series^informal amoersation& uutA t/us seasovi's^eaturea(soAnstS/, conductors and'conUMMers/. J^lorning^ra musico/ is broae/cusi? axist to coast an stations^ of tA& SuAAc &taau> (joofeeratioc and is Aeara'in {Ac QBoston area on W&($fflf<^.'£jni) eoeruntorn/nafroni seocn untilnoon/. 62 U. S. Components, Inc. B. A. Jackson * Wang Laboratories, Inc. An Wang c * Western Electric Company, Inc. IJvcly(^lrts Donald E. Procknow Insurance Arkwright-Boston Insurance July 1 - 24 & Aug. 7-14 Frederick at Skidmore College, Saratoga Springs, N.Y. J. Bumpus * July 10 - 17 Berkshire Life Insurance Company Lawrence Strattner, at Mt. Holyoke College, South Hadley, Mass. W Jr. Brewer &. or July 17-24 Lord Joseph G. Cook, at Williams College, Williamstown, Mass. Jr. *Commercial Union Assurance Companies For a memorable experience, enjoy a Howard H. Ward week or extended weekend vacation with *Frank B. Hall & Company, Inc. the arts! unique Our program includes per- John B. Pepper formances by The Philadelphia Orchestra, *John Hancock Mutual Life Insurance Company New York City Ballet, Boston Symphony, E. James Morton and Williamstown Theater Company, plus a * Liberty Mutual Insurance Company great jazz weekend featuring star perform- Melvin B. Bradshaw ers. Also included are seminars in philoso- phy, literature, economics, art history, mu- *New England Mutual Life Insurance Company sic, and drama. Edward E. Phillips Excellent facilities for swimming, tennis * Prudential Insurance Company of America and golf are available for sports enthusiasts. Robert J. Scales Accommodations include modern dorm- Sun Life Assurance Company of Canada itories and apartments. John D. McNeil Write for a brochure. Investments ALLENS LANE ART CENTER Amoskeag Company (dept B) Joseph B. Ely, Jr. Aliens Lane and McCallum St. Moseley Hallgarten Estabrook & Weeden, Inc. Phila., PA. 19119 (215) 248-0546 Fred S. Moseley Paine, Webber, Jackson & Curtis, Inc. Francis P Sears The Putnam Advisory Company, Inc. John Sommers *Tucker, Anthony & R. L. Day, Inc. R. Willis Leith, Jr. * Woodstock Corporation Thomas Johnson Legal *Cesari McKenna Robert A. Cesari *Gadsby &. Hannah Harry Hauser *Goodwin Procter & Hoar Edward O'Dell Continental Cuisine *Herrick & Smith Vm the Charles Malcolm D. Perkins JO Emerson Place. Boston 742-5480 Leisure * Heritage Travel Donald Sohn 63 •••• THE CRITICS' CHOICE The Boston Globe gave Apley's its four-star rating and Esquire magazine named it one of the "100 Best New Restaurants in America." We're also pleased with the phrases Boston food critics use to describe their dining experience with us: "first rate," "a wonderful eating place," "unique among restaurants of its type. . .for the moment, no other hotel restaurant in Boston can beat it." We suggest you experience Apley's for yourself. *h4% Sheraton-Boston Hotel SHERATON HOTELS & INNS, WORLDWIDE PRUDENTIAL CENTER, BOSTON. MASSACHUSETTS 61 7/236-2000 64 Manufacturing *WNEV-TV/New England Television Winthrop P. Baker Acushnet Company, Inc. Robert L. Austin Printing/Publishing *Alpha Industries, Inc. *ADCO Publishing Company, Inc. Andrew S. Kariotis Samuel Gorfinkle *Baldwin Piano & Organ Company * Berkshire Eagle R. S. Harrison Lawrence K. Miller Bell Manufacturing Company * Boston Globe Irving W Bell John I. Taylor Bird Companies *Cahners Publishing Company, Inc. Robert F. Jenkins Norman Cahners College Town, Inc. * Daniels Printing Company Arthur M. Sibley Lee Daniels Crane & Company *Houghton Mifflin Company Bruce Crane Harold T Miller A. T. Cross Company *Label Art, Inc. Russell A. Boss Leonard J. Peterson Econocorp, Inc. Retailing Richard G. Lee *Gillette Company *Wm. Filene's & Sons Company Merwin Kaminstein Colman M. Mockler, Jr. Kimberly-Clark Corporation/Schweitzer Division *Gans Tire Company, Inc. Ronald Gill David Gans Howard Johnson Company *Marks International, Inc. Harry Marks G. Michael Hostage Kay Bee Toy Hobby Shops Millard Metal Service Center, Inc. & Donald Millard Howard Kaufman King's Department Stores, Inc. *Plymouth Rubber Company, Inc. Paul Kwasnick Maurice J. Hamilburg *Lee Shops *TAD Technical Services Corporation David McGrath Arthur Klein *Towle Manufacturing Company Mars Bargainland, Inc. Matthew Tatelbaum Leonard Florence Marshall's, Inc. Trina, Inc. Brenton Arnold Rose Frank *Zayre Corporation *Wheelabrator-Frye, Inc. Maurice Segall Michael H. Dingman * Barry Wright Corporation Science Ralph Z. Sorenson *Charles River Breeding Laboratories, Inc. Media Dr. Henry L. Foster *Cablevision Systems Damon Corporation Charles Dolan Dr. David Kosowsky *General Cinema Corporation *Ionics, Inc. Richard A. Smith Arthur L. Goldstein *WBZ-TV *Kaye Instruments, Inc. Clarence Kemper Seymour L. Yanoff *Millipore Corporation *WCRB/Charles River Broadcasting, Inc. Dimitri D'Arbeloff Richard L. Kaye *WCVB-TV/Boston Broadcasters, Inc. Shoes S. James Coppersmith *American Biltrite, Inc. * WNAC-TV/RKO General TV David W. Bernstein Pat Servodidio 65 The elephant and the blind men are no different from you and me. Just as each of the six blind men of Indostan reached a different conclusion when they touched a different part of the elephant, your many financial advisors are often blinded by their specialization and consider only a part of your financial estate. The result is usually fragmentation and unnecessary inefficiency Without a coordinated financial program, taxes may be higher than need be, investment yields lower, and peace of mind absent altogether. It is the role of The Cambridge Group to coordinate the many parts of your financial house, and to form a functional, efficient whole which is in concert with your desires and the realities of todays world. At The Cambridge Group you will have the opportunity to examine all of your options and develop a thorough and systematic approach, designed for success. Take the first step toward controlling your financial future. Come talk with us. The Cambridge Group Singular financial planners 160 Commonwealth Avenue, Boston, Massachusetts 02116 One Burlington Woods Drive, Burlington, Massachusetts 01803 (617) 247-3000 66 * Jones & Vining, Inc. Utilities Sven Vaule, Jr. *Boston Edison Company *Spencer Companies, Inc. Thomas J. Galligan, Jr. C. Charles Marran *New England Tel. & Tel. Company *Stride Rite Corporation Gerry Freche Arnold S. Hiatt Youll need only "Three Words' to describe how you live... .Duck after Dvorak A care-free Elegant French cuisine, lifesyle that ensures privacy, security reservations recommended. 354-1234 and conveniences as well as unrivaled amenities to complement the diversified living needs of today. Enjoy this incredibly secluded world of single family residences clustered on a lush former North Shore estate uniquely offering comprehensive grounds and exterior home mainten- ance, pool and tennis. One Salem Street..the address that says it all. Prices starting at $221,000. DIRECTIONS: From Route ERTAD 128. Exit onto Route 129 - Lyna Swampscott Left at Route 1 A - Paradise Road. Right at Vinnln Square, onto Salem Street past the Tedesco Country Club. From Boston. S Take Route 1 A to Swampscott Nahant Exit along Lynn D Shore Drive to Humphrey Street Swampscott Turn Left onto Salem Street in the Sheraton-Commander Hotel CYNTHIA PIERCE ASSOCIATES Exclusive Realtor 16 Garden St., Cambridge One Salem St. Swampscott MA 01907 (617) 581-5070 67 - (S BoorH 'Sz Anyone with an ear for music canjoin the BSO. Tune in to concerts by the Boston Symphony Orchestra. Fridays at 9 p.m. WCRB 102.5 FM. A Honeywell presentation. Honeywell . . , Coming Concerts . . Tuesday, 19 April—8-945 Tuesday 'B' series SEIJI OZAWA conducting Beethoven Symphony No. 1 Stravinsky The Firebird (complete) Thursday, 21 April—8-10 Thursday '10' series Share the warm, traditional Friday, 22 April—2-4 atmosphere of Back Bay's oldest restaurant. Saturday, 23 April—8-10 Enjoy delicious, thick char- Tuesday, 26 April—8-10 broiled steaks, fresh seafoods, Tuesday 'C series barbequed chicken and ribs, a limitless salad bar, imported beers SEIJI OZAWA conducting and wine, plus generous sand- Haydn Overture to Armida wiches all at modest prices . . luncheons from $3.50 and dinners Lieberson Piano Concerto from $6.50. (world premiere,- commissioned by the Boston Five minutes from Symphony Symphony Orchestra for its centennial) Hall, the Hynes Auditorium PETER SERKIN and Prudential Center. Bach Brandenburg Concerto No. 5 PETER SERKIN Strauss Emperor Waltzes NEWBURY'S J. I STEAKHOUSE f Monday, 25 April at 7:30 '// 94 Massachusetts Avenue Open Rehearsal <^ (Comer of Newbury St.) / 7 Steven Ledbetter will discuss the program V 536-0184 at 645 in the Cohen Annex. w7 Open from Noon to Midnight Thursday, 28 April— 8-9=25 1/ Free parking at garage on Newbury Street Thursday, 'B' series All major charge cards accepted Friday, 29 April—2-3=25 Saturday, 30 April— 8-9:25 SEIJI OZAWA conducting Bruckner Symphony No. 8 HOW TO HIRE AND HOW TO AN EXPERT. RENT ONE Talk to the people who know how to find Talk to the temporary accounting and them. With 80 offices in 3 countries, the bookkeeping specialist. All Accountemps Robert Half organization is the largest employees are carefully screened. So recruiter of financial, accounting and when you call, you're likely to get some- edp professionals. So it gives you the one who is slightly overqualified for best choice of first-rate candidates. the job. An expert. BO E3 OF BOSTON, INC accounlemps 100 Summer Street, Boston, MA 02110. (617) 423-1200 an affiliate of Robert Half of Boston, Inc. Member Massachusetts Professional Placement Consultants 100 Summer Street. Boston, MA 02110. (617) 423-1200 69 M How wouldyou like a location where 60,000people shop your store window every day? flow would you like a location in the heart of downtown Boston, anchored by the flagship stores of Jordan Marsh and Filene's? |f A location with a population of more than 3 million to draw from? Jj A location with all the knowledge, science and art that's ever been learned about successful retailing built into it? || A location where your neighbors are 187 of New England and America's most successful retailers, including 23 restaurants of varied nationalities and price ranges, and a five-hundred room Intercontinental Hotel? % A location with on-site parking for thirteen hundred cars as well as direct access from every form of public transportation? | A location planned to be New England's major fashion event center? $ A location in a magnifi- cent three-level, multi-use complex destined to be the most important retail center in New England? Jf You'd like Please send me more information on I ~i Lafayette Place. all that? jj Welcome to Lafay- Name ette Place, open for business Business Address October, 1983. % Now is the Telephone Number time to plan for your success Type of Store in Lafayette Place. Call Richard Mail coupon to: . Mr. Richard MacNamara, Lafayette Place One Boston Place, Boston, Mass. 02108. MacNamara at 617-227-0690. j #^W#£"/&c*X Structured For Success. 1 Symphony Hall Information , FOR SYMPHONY HALL CONCERT AND concerts (subscription concerts only). The con- TICKET INFORMATION, call (617) tinued low price of the Saturday tickets is 266-1492. For Boston Symphony concert pro- assured through the generosity of two anony- gram information, call "CON-C-E-R-T." mous donors. The Rush Tickets are sold at $4.50 each, one to a customer, at the Sym- THE BOSTON SYMPHONY performs ten phony Hall West Entrance on Fridays begin- months a year, in Symphony Hall and at ning 9 a.m. and Saturdays beginning 5 p.m. Tanglewood. For information about any of the orchestra's activities, please call Symphony LATECOMERS will be seated by the ushers Hall, or write the Boston Symphony Orches- during the first convenient pause in the pro- tra, Symphony Hall, Boston, MA 02115. gram. Those who wish to leave before the end of the concert are asked to do so between THE EUNICE S. AND JULIAN COHEN program pieces in order not to disturb other ANNEX, adjacent to Symphony Hall on patrons. Huntington Avenue, may be entered by the Symphony Hall West Entrance on SMOKING IS NOT PERMITTED in any part Huntington Avenue. of the Symphony Hall auditorium or in the surrounding FOR SYMPHONY HALL RENTAL INFOR- corridors. It is permitted only in the Cabot-Cahners and Hatch rooms, and in MATION, call (617) 266-1492, or write the the main lobby on Massachusetts Avenue. Hall Manager, Symphony Hall, Boston, MA 02115. CAMERA AND RECORDING EQUIP- MENT may not be brought into Symphony THE BOX OFFICE is open from 10 a.m. until Hall during concerts. 6 p.m. Monday through Saturday,- on concert evenings, it remains open through intermis- FIRST AID FACILITIES for both men and sion for BSO events or just past starting-time women are available in the Cohen Annex for other events. In addition, the box office near the Symphony Hall West Entrance on opens Sunday at 1 p.m. when there is a con- Huntington Avenue. On-call physicians cert that afternoon or evening. Single tickets attending concerts should leave their names for all Boston Symphony concerts go on sale and seat locations at the switchboard near the twenty-eight days before a given concert once Massachusetts Avenue entrance. a series has begin, and phone reservations will be accepted. For outside events at Symphony Hall, tickets will be available three weeks before the concert. No phone orders will be accepted for these I events. TICKET RESALE: If for some reason you are J i unable to attend a Boston Symphony concert for which you hold a ticket, | you may make your ticket available for resale by calling the | switchboard. This helps bring needed revenue I to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax- deductible contribution. RUSH SEATS: There are a limited number of Rush Tickets available for the Friday after- noon and Saturday evening Boston Symphony -v. I 71 mm WHEELCHAIR ACCESS to Symphony Hall is BOSTON SYMPHONY BROADCASTS: Con- available at the West Entrance to the Cohen certs of the Boston Symphony Orchestra are Annex. heard by delayed broadcast in many parts of the United States and Canada, as well as inter- AN ELEVATOR is located outside the Hatch nationally, through the Boston Symphony and Cabot-Cahners rooms on the Massachu- Transcription Trust. In addition, Friday after- setts Avenue side of the building. noon concerts are broadcast live by WGBH- FM (Boston 89.7), WMEA-FM (Portland 90.1), LADIES' ROOMS are located on the orchestra WAMC-FM (Albany 90.3), WMEH-FM level, audience-left, at the stage end of the (Bangor 90.9), and WMEM-FM (Presque Isle hall, and on the first-balcony level, audience- 106.1). Live Saturday-evening broadcasts are right, outside the Cabot-Cahners Room near carried by WGBH-FM, WCRB-FM (Boston the elevator. 102.5), WFCR-FM (Amherst 88.5), WPBH-FM (Hartford 90.5), and WNPR-FM (Norwich MEN'S ROOMS are located on the orchestra 89.1). If Boston Symphony concerts are not level, audience-right, outside the Hatch Room heard regularly in your home area and you near the elevator, and on the first-balcony would like them to be, please call WCRB level, audience-left, outside the Cabot-Cahners Productions at (617) 893-7080. WCRB will be Room near the coatroom. glad to work with you and try to get the BSO on the air in your area. COATROOMS are located on the orchestra FRIENDS: The Friends are supporters of and first-balcony levels, audience-left, outside BSO the Hatch and Cabot-Cahners rooms. The the Boston Symphony, active in all of its endeavors. Friends receive BSO, the orchestra's BSO is not responsible for personal apparel or ticket informa- other property of patrons. newsletter, as well as priority tion. For information, please call the Friends' LOUNGES AND BAR SERVICE: There are Office at Symphony Hall weekdays between two lounges in Symphony Hall. The Hatch 9 and 5. If you are already a Friend and would Room on the orchestra level and the Cabot- like to change your address, please send your Cahners Room on the first-balcony level serve new address with your newsletter label to the drinks starting one hour before each perform- Development Office, Symphony Hall, Boston, ance. For the Friday afternoon concerts, both MA 02115. Including the mailing label will rooms open at 12:15, with sandwiches avail- assure a quick and accurate change of address able until concert time. in our files. DALTON'S HAS A GREAT MEAL MAPPED OUT FOR YOU. The Back Bay's newest, most exciting restaurant is the place to go before or after the symphony. Serving everything from light snacks and full dinners to special coffees and delicious desserts 'til midnight. Dalton's Cafe and Wine Exchange. So close, you can taste it. At The ^ «* &* Back Bay Hilton, Dalton and Belvidere | Q I \r\\r\C Streets, Bostoa MA 02115 (617) 236-1100. I dlWJL Iw Cafr Garage parking available. L/and wine ex :hange V-x 71 White Label® ^r *ie\^rvaries* The Dewar Highlander BLENDED SCOTCH WHISKY • 86.8 PROOF • g 1982 SCHENLEY IMPORTS CO., N.Y., NY. . BIANCH. 3 i C O " .. TE AMNp ' of n*c« M8S4FW- *iNt ft SPIRITS CO sTl,,, Nf the P* SOMfRVIU^WA ss Catch of the day. Now you can bring home the Italian white wine that's so light and refreshing, the French - and who should know better - rated it best of all wines in Europe with fish. Bianchi Verdicchio. Surprisingly inexpensive, it's now in America at your favorite restaurant or store Bianchi Verdicchio Imported by Pastene Wine & Spirits Co., Inc., Somerville, MA. Also available in party-size magnums.l Lord, the insurance firm that's been protecting New England business, and business people, since 1859.